Announcements

The timeline panel’s method of displaying content is now faster and smoother than ever.   We’ve made some under-the-hood changes to the way the timeline UI is displayed which is reflected in edits, drag/drops, and scrolling, especially on large panels. Dragging the playhead is more responsive.   The feedback on trimming, dragging transitions and effects will now draw a blue, shaded rectangle instead of using an inverted color.   Auto scrolling when dragging the playhead or clips or during edits, is now variable speed and much smoother.   Please reach out if any have any issues, questions, or feedback.     We want to know what you think.  Please join the conversation below.   

You can now start a new project based on a template project in import mode.  It’s common to repeat your same workflow from project to project and pros have learned that  creating a project template speeds things up when getting started and gives you a head start on organization.     Any project file can be used as a template.  The entire project structure will be copied into your new project including all bins, sequences, and media.   Copying the media is handy if you have media that gets reused a lot like intros, graphics, or bumpers.  Essentially, we are creating a duplicate of the project with the new name and location.  Any media that you select during import mode will also be added to the new project, but of course you don’t have to import anything at first.   Here's how it works: Enter import mode by choosing “New project” from the home screen or File > New project. Give your project a name and location Browse for a template from

You can now access your Team Project’s Version and Auto Save History by selecting the Team Project name in the Premiere Pro header bar. The new header bar menu also lets you select your Team Project settings.   Selecting Version History or Auto Save History opens the Media Browser in Premiere Pro and selects your open Team Project.     You can open any Team Project version or create a new Team Project from a version via the Media Browser.     You can also create a new Team Project from any Auto Save or make any Auto Saved version the latest version of your Team Project via the Media Browser.     Selecting Team Project Settings opens the Team Project Settings dialog which lets you edit the Team Project Name, the Description, the Collaborators as well as a number of other settings including Color, Scratch Disks, Ingest Settings, etc.   To learn more auto saves and versions of Team Projects:   https://helpx.adobe.com/premiere-pro/using/v

Today’s Premiere Pro Beta build introduces both a bug fix and a slight change in functionality to improve the playback experience with ProRes media.     The Problem  Premiere Pro was not displaying ProRes media at the proper bit depth on Apple silicon systems when hardware decoding was enabled. Rather than playing back at the expected bit depth of 32-bit float, they would play back at 8-bit which would produce banding artifacts on playback and export. That bug has been addressed starting with Premiere Pro Beta build 23.3.0.18.      Updated Functionality  There are several settings that go in to determining the performance and playback quality of media in Premiere Pro. Two of the most important settings are High Quality Playback and Maximum Bit Depth.       High Quality Playback   This setting can be found in the context menu of both the Source and Program Monitor. Enabling this setting allows for a better q

Available now in Premiere Pro Beta: Use keyboard shortcuts to navigate transcripts in the Text panel so you can find pauses and navigate your sequence using keyboard shortcuts. This means that when you transcribe your sequence at the beginning of a project, you can now scan the transcript to find moments of interest, bad takes, good quotes, and long pauses.   Navigation: Navigate through the Text panel using familiar text editing keyboard shortcuts. The playhead will follow your cursor navigation so you can easily jump to the selected moment in the transcript. Selections: Use text selections to set in/out points in your sequence. Enable and disable the in/out point button in the Transcript tab to activate this functionality. Detect pauses: Show or hide pauses in a transcript and navigate between pauses. This will allow you to easily find long moments of silence that you don’t want included in your edit.     Please be aware of the following: These features are design

Edit: This feature is now shipping in Premiere Pro v24. Thanks to everyone who provided feedback while it was in beta!   Note: since the message below was posed, we have updated the color settings user experience. Please refer to the post here for more information.    With the latest update to Premiere Pro in Beta, we have made finding and using color settings easier. Color settings in the application are now in one place in the new ‘Settings’ tab in the Lumetri Color panel. So, if you want to quickly select the Media Color Space or add an Input LUT while editing and doing color correction, you can do so within the Lumetri Color panel without hunting for settings in different dialogs. As an advanced user, you can find all color settings from ‘Auto Tone Map Media’ to ‘HDR Graphics White (Nits)’ across the application in one place to quickly update while color correcting and grading.   Screen above shows the Lumetri Color panel with the new ‘Settings’ tab.

We added a little quality of life feature which has been highly requested by users.  We now have editing properties of multi graphics selections in beta (version Premiere beta 23.0). With this you can select multiple graphics in your sequence and change the font for the selection in one go!       Align and Transform is not supported, but all the cool stuff that you had been asking for: fonts, font size, color, background etc. This feature is for text only, any shapes that are part of the selection will not change when multi-selecting.    Hope you like it!   -------How do I install Premiere Pro beta? In the Creative Cloud desktop app, select Beta apps in the left sidebar of the Apps panel. Then select Install for Premiere Pro. You can run beta builds side by side with the release versions of Premiere Pro.

I am pleased to introduce you to Text-Based Editing in Premiere Pro (Beta), which makes assembling a rough cut as simple as editing a Word document. Transcribe your footage upon import, search for key moments, cut and paste sentences, and watch the clips in your timeline follow your edits.   We’ve been working hard on Text-Based Editing, and we want your feedback.     How Does Text-Based Editing Work? Text-Based Editing is available in the Premiere Pro (Beta) which you can download and install separately from the current Premiere Pro release.   Because Text-Based Editing is a new way of working in Premiere Pro (Beta), we have created a Text-Based Editing Workspace which provides more screen real estate for the Text Panel and places the Source Monitor and Program Monitor in the same window.   Watch this tutorial to learn how to: Transcribe your footage for Text-Based Editing Set up the Text-Based Editing Workspace Search for key moments Do 3-Point Editing (Ins

NEW: Retain your custom export destinations for all clips and sequences in any project!    Previously, custom destinations were saved per sequence with no easy way to share them with other sequences and projects.    Now you can add and edit a single set of custom destinations in Export mode that are available globally. Simply open a sequence or clip In Export mode and set up multiple custom destinations – those will now be available globally.    Note: for sequences, presets assigned to custom destinations are unique to each sequence.  For clips, presets assigned to custom destinations are shared across all clips.    We want to know what you think.  Please join the conversation below.   

With the latest update, we have fixed the existing LUT indexing issue due to which adding custom LUTs to the technical or creative folders would break the previous relationship between all clips and LUTs selected and users had to manually re-link the clips.   Now, users can add custom LUTs without any impact to existing projects and clips. The custom LUTs added to the ‘Creative’ or ‘Technical’ folders will show up in the LUT dropdown when users launches Premiere and creates a new project. This will not impact LUTs selected in existing clips.   This impacts the following workflows - Adding custom LUTs to a clip will not break existing LUT relationships linked to a clip across the project. Transferring the projects between systems with different sets of custom LUTs will work seamlessly. Team projects on systems with different set of LUTs can communicate any changes to the applied Lumetri LUTs without errors. Previously since these changes were based on LUT index in popup -

In order to ease the transition from an established Legacy Titler workflow to an Essential Graphics workflow, we have added two new commands that allow you to upgrade your Legacy Titles into Source Graphics in the latest Beta build of Premiere Pro. You can access these commands through keyboard shortcuts or through the top Graphics menu: • Upgrade Legacy Title • Upgrade All Legacy Titles   What are Source Graphics?   Source Graphics are a kind of Essential Graphic that behave similar to Legacy Titles in the sense that they have a project item, you can track usage through the metadata column for Video Usage and edits made to the project item or an associated track item will ripple edits through all track items.   Note that Source Graphics do not support rolls or Responsive Design Time. By the way, any Essential Graphic can be turned into a Source Graphic through the "Upgrade to Source Graphic" command in the Graphics menu (make sure the focus is on the timeline). &nb

ARRIRAW is one of the most popular formats used for professional video production. Now, with our new Beta release, ARRIRAW Log C source media’s color space is correctly identified automatically instead of being recognized as Rec 709. We do not color convert the media to the working color space today so that you can follow your original workflow of applying a LUT to the footage to convert it to your preferred working/timeline color space. With this automatic detection, you now have the ability to apply the LUT via the interpret footage dialog as well i.e. via ‘Select a source clip-> modify->Interpret footage -> input LUT’ apart from the input LUT option already available in Lumetri panel. If you are using ARRIRAW in Rec 709 color space for source, the media will be fully color managed now. That is, it will be automatically color converted to the working color space you are using for your sequence e.g., Rec 2100 HLG, Rec 2100 PQ etc. You can access the ARRIRAW source settings vi

We released an ability for users to choose auto-log detection at an app preference level in Premiere early this year. Since users wanted the ability to apply this setting while exporting via Application Media Encoder as well, this setting is now available at a project level instead.     This setting will automatically detect the media color space of log videos when you add them to a new Premiere Project where auto-detect is on and also color convert to Rec 709 if you choose the same in your timeline color space. So, you don't have to manually go and update source media or apply a LUT. You can futher use the tone mapping feature we released earlier this year to tone map your log videos when editing in Rec 709 so that the highlights don't look blown out. The auto-log detect setting is off by default for all projects.    To apply this setting, go to color settings tab in Project settings and turn it on. So now any project exported from Premiere will have the setting ap

A new cloud icon along with a tooltip and an on-click view in Premiere Pro’s header bar displays the local save and cloud sync status for Team Projects. Team Projects saves all your changes as you work both locally and to the cloud.  This cloud icon gives you a visual representation that your project is saved locally and sync’d to the cloud so that you can work with confidence knowing that your project is saved and not going to be lost.     The cloud with a green check icon is a visual representation that your project has been saved locally.     Clicking on the cloud icon provides additional information letting you know when the last local save and sync to the cloud occurred for your project.     After performing an edit, the cloud icon will have two curved arrows to display that the changes are being saved locally.     Clicking on the cloud icon provides additional information letting you know that the project is being saved and the la

With the latest Adobe Premiere Pro Beta build, we have enabled Hardware Acceleration decode of HEVC/H264 4:2:2 10 bit on Mac ARM systems. This means that your import performance for files that use this codec will be faster.  If you have a MAC Arm machine, this feature is enabled by default on Premiere Pro.  We recommend that you please clean your media cache once for optimal performance.  This is now available in Beta for Adobe Premiere Pro (Mac ARM), and Adobe Media Encoder (Mac ARM). Please try it and let us know your feedback.  

Color management is now available for log-based media.  This allows for simpler, LUT-free workflows when working with log footage from popular camera makers like Sony, Panasonic, and Canon.  Set the log color space correctly in Modify > Interpret Footage, then place the media on a Rec709 or HDR timeline and Premiere Pro will automatically apply the correct color conversions. Any camera that shoots log can now be used in HDR production easily.   This method transforms log footage to the color space of the sequence in a non-destructive, real-time workflow, rather than the common use of Log>Rec709 LUTs that can clip highlights, shadows and color information.   How It Works: Right-click on a video clip in the Project Window and select Modify > Interpret Footage.     In the Interpret Footage Window, scroll down to “Color Management” at the bottom of the panel. Click “Color Space Override” then use the pull-down menu to assign the format of the selec

The Effects Manager lets you see which third-party video effect plugins are installed and disable or enable them.  If you suspect a plugin could be causing stability issues, it’s now easier to disable it with the new Effects Manager. We need your input as we finish working on this new manager! The Video Effect Manager is a dialog that allows you to see a list of all your installed video effects along with helpful details including Effect Name, Category, and File Path on disk. But most importantly: each effect has a checkbox to enable or disable the effect on next startup.  Effects that have been disabled in the Effects Manager will no longer be available to apply in the Effects panel. Any projects opened that use disabled effects will display them as “Offline” in the effects control panel and they will not render.    To find the Effect Manager, choose Manage Video Effects… from the Effect panel hamburger menu.     Future features that are in the works bu

I'm excited to tell you that today's beta of Premiere Pro - v22.3, build 22 - dramatically improves the playback performance of RED R3D raw files.    In this beta, customers with Apple silicon computers will see the performance benefit. Future beta releases will add the same benefit for customers using Windows. If you work with R3D files and you've got an Apple silicon computer, we'd love to get your feedback on this change.    Regards, Fergus  

This feature is now shipping in the October release of Premiere Pro. Questions or comment about it should be posted to the main Premiere Pro forum: https://community.adobe.com/t5/premiere-pro/ct-p/ct-premiere-pro.    ----------------- In the v23 beta of Premiere Pro, there’s a performance improvement we’d love to get your feedback on. For Apple silicon users, we’ve added hardware acceleration of media in AVC Intra in MXF format. That sounds very specific but it’s actually fairly common. On Sony cameras, like the FX6 and FX9, it’s XAVC-I .mxf files. On Canon, with cameras like the C70 and C300, it’s XF-AVC Intra .mxf files.    AVC Intra already performs well on most recent computers. However, with hardware acceleration on Apple silicon, you should see: Lower CPU utilization during playback Faster output times Smoother playback with multiple video tracks   If you’re using an Apple silicon Mac with this type of media, we’d love to get your feedback.  &

Recovery Mode is now in Premiere Pro Beta!    Premiere makes it easier to recover your work.   After a force quit or crash of Premiere Pro, reopen the application and a message will appear with a ‘reopen’ button that allows you to open your project(s) including changes between the last save and the crash or force quit. No more lost work!       You can save these changes and your original project file(s) will update. You can also revert to the last user-saved state using the File>Revert menu option.    In the local drive project folder, there is now a subfolder called RecoveryProjects with a file for each project. Premiere attempts to save a copy of your project upon a crash or force quit of the application. If that is unsuccessful, Premiere will use the most recent autosave.      We want to know what you think.  Please join the conversation below.     

We are replacing OpenGL with DirectX12 as the preferred display technology on Windows with the eventual goal of phasing out OpenGL entirely. There are many benefits to DirectX including better stability and performance, and a more modern codebase that is more efficient for us to maintain. But possibly the most exciting benefit is support for Windows 10 advanced color which allows displaying HDR content on an HDR10 capable display. There are some prerequisites to making this work which are detailed below – you must have an HDR-capable GPU and monitor.  If your system configuration does not support DirectX12, it will fall back to use OpenGL as it used to.   System Requirements Operating System: Windows 10, version 1709 or later. Display: To take advantage of high dynamic range, you must have a display that supports the HDR10 standard. Windows works best with displays that are VESA DisplayHDR certified. GPU: Nvidia GeForce 1000 series (Pascal), or newer AMD Radeon RX 400 series

We have improved our display pipeline to provide smoother playback and to reduce screen tearing artifacts. The change is effective in the latest public betas of Premiere Pro and After Effects.The changes we've made slightly increase memory usage, so the improvements are available on computers with a GPU that have 2 GB or more of VRAM.If you have been affected by screen tearing, we'd love to get your feedback on this change.

The Tone Mapping option in Premiere Pro and Adobe Media Encoder (AME) is now available as an effect in the Export Panel. This new feature improves upon the previous SDR Conform effect found in the export effects. The Export Tone Map Effect allows users to tone map a timeline or clip to the designated export color space. It provides three tone mapping methods and additional controls for exposure and highlight saturation to fine-tune the tone mapped output. Tone Mapping Methods:   iPhone HDR: Ideal for exporting an iPhone HDR timeline or clip to an SDR export color space. Log Video: Recommended for exporting a log clip in a supported format (S log, V log, and Canon log) to an SDR export color space. Other HDR: Suitable for exporting non-iPhone, non-log HDR timelines or clips to an SDR color space. This option can also be used for exporting a PQ timeline or clip to an HLG export color space. These tone mapping methods ensure the best results when converting content between differen

The October 2022 release of Adobe’s video products adds support for ARRIRAW and ProRes files from the ARRI ALEXA 35.    But we’re not done! We are working on several more ARRI-related features. Two are already in beta and we’d love to get your feedback on them.    The first is improved support for anamorphic footage captured in ARRIRAW. We now recognize the Lens Squeeze Factor entered in the camera. This value appears in the Interpret Footage dialog and can be changed as necessary. We've tested this feature with anamorphic lenses with a 2x squeeze factor. If you're using anamorphic lenses with a different squeeze factor, we'd love to hear your experience.  The second feature in beta is hardware acceleration for ARRIRAW. This makes the playback of ARRIRAW footage smoother and works on both Macintosh and Windows computers. It also works with all ARRIRAW footage - not just from the ALEXA 35 - and applies to both .mxf and .ari ARRIRAW files.    Your feed

This feature is now shipping in v23.2 of Premiere Pro. More information is available here.   ------------   In this latest public beta, Premiere Pro introduces automated tone mapping for HDR (High Dynamic Range) video to SDR (Standard Dynamic Range) video workflows.   Tone mapping works with iPhone HLG, Sony S-Log, Canon Log, and Panasonic V-Log media, as well as media that is in HLG and PQ color spaces.   TWO STEPS TO TONEMAPPING   Tone mapping is done in Two-Steps. First, you set the clip’s color space to the wide gamut color space it was recorded in (like Sony S-Log) in the Interpret Footage dialogue.           Then you must drag that clip to a Rec. 709 timeline. Tone mapping will automatically be applied, but you can confirm that “Automatically Tone Map Media” is checked in the Sequence Settings:         SOME CLIPS INTERPRET AUTOMATICALLY, SOME REQUIRE YOUR INPUT   iPhone HLG clips are automatically detect