Whats new in Adobe CS6 Production Premium? Im glad you asked!

[lasvideo]

CS6 will surprise and delight everyone here. PrP and AE have worked on the basics and added new tools. I am so excited to see everyones reaction at NAB this year.

http://success.adobe.com/en/na/programs/events/1203_16108_nab.html

[srukweza-PhMhaR]

In my experience on this forum, people can quote a sentence from a previous message and reply to it if they have experienced that issue before. I think that way of communicating and sharing ideas and suggestions will continue as it is the scope of this forum.

[Islanders66]

srukweza wrote:

In my experience on this forum, people can quote a sentence from a previous message and reply to it if they have experienced that issue before. I think that way of communicating and sharing ideas and suggestions will continue as it is the scope of this forum.

Please try to stay on topic. Are there any new features in 6.0 that have got your attention?

In my fist post I stated I would be upgading for SpeedGrade, Custom Buttons that will hopefully be useful for transitions, and have also asked about applying SpeedGrade to a layer in AE, of which it can apply some effects and looks. Feel free to comment and share ideas about these topics I raised in my post. My intentions are to share in the excitmet of the upgrade and to continue on bickering about context about subjective issues is going off topic.

[srukweza-PhMhaR]

Islanders66 wrote:

Please try to stay on topic. Are there any new features in 6.0 that have got your attention?

I like the new features in almost all the applications in Production Premium CS6. The improvements in Dynamic link and 64 bit Encore sounds awesome and makes my workflow pretty easy when creating Blu Ray and DVD from the same project. This means that I do not have to export anything for Encore, saving huge HDD space.

[excited_Genie16B8]

This means that I do not have to export anything for Encore, saving huge HDD space.

Not really.  The material needs to be transcoded at some point to go on the disk.  Either you do it manually from Premiere Pro, or Encore does it automatically.  Either way, the transcoded assets are going to take up roughly the same space on the hard drive.

The only real difference is that if you do it manually, you see the file and how big it is.  If Encore does it, the file ends up hidden in a folder that you never really see.  But either way, the same space it taken.

[SCAPsinger-PZKeOS]

Jim Simon wrote:

Either you do it manually from Premiere Pro, or Encore does it automatically [....] The only real difference is that if you do it manually, you see the file and how big it is.  If Encore does it, the file ends up hidden in a folder that you never really see.

While it is correct that the amount of space used is typically going to be the same, the benefit to using Encore is that you can see the direct disc size calculations immediately in Encore as soon as you set up your transcoding options. If you transcode out of Premiere Pro instead of using Dynamic Link into Encore, then you will want to be sure you calculate your bitrate usage in advance for both video and audio.

I prefer the Dynamic Link method personally, and use it almost exclusively. This allows me to build my projects as I'm going along - that is, before I know for certain what the final TRT for all assets will be. Then I can balance the transcoding of assets inside Encore, maybe giving some sequences a lower bitrate encoding, and some stuff a higher one. I can immediately see the impact without doing any math of my own.

This is also a handy workflow if your client changes something upon initial review of your DVD or Blu-ray. If your assets are Dynamic Link sequeneces, you just make your edits in PPro, then select the DL sequences in Encore and choose "Revert to Original." If your durations have changed (longer or shorter) this can impact your disc usage and Encore will show you that impact immediately - again, no math on your part.

And I take issue with the word "hidden" in relation to how Encore organizes your transcoded assets after the fact. If putting files into a subdirectory of your project file labelled "Transcodes" then yes, probably every file on my computer could be called a "hidden folder." Encore manages the assets quite nicely. The only possible improvement would be to have the transcoded assets directly match file name with sequence name, but even that is but a small hassle at the very most.

ONE OTHER potential hazard with exporting out of PPro is choosing the wrong preset, or exporting an audio format that will need to be re-transcoded (thereby occupying more space on your drive for both conforming of the asset as well as transcoding it again). Inside of Encore there are NO possible transcode formats that are incompatible with Encore. Therefore, it is 100% guaranteed that you will never screw up this step working with Dynamic Link sequences inside Encore. If you're anything like me, you do stupid stuff all the time (See everybody? Fully admitted it after all these years). I try to minimize the impact of my own stupidity when possible and practical, and the Dynamic Link workflow from PPro to Encore has proven an excellent method for just that.

[excited_Genie16B8]

I take issue with the word "hidden"

We can change that to read "tucked away in a folder you will probably never see".

[srukweza-PhMhaR]

Jim Simon wrote:

"tucked away in a folder you will probably never see".

The folder is usually located in the same directory as the Encore project. Christian Jolly has actually nailed the fundamental advantages for the dynamic link. Now that you can create a pop up menu for a DVD means that all the assets and menus imported into Encore will not be skipped on building a DVD, Blu Ray or DDP image.

Since I didn't upgrade to CS5.5 I have just ordered it right away so that I can start learning Audition as I became used to the easiest Soundbooth.

HOLA!!! Bring it on Adobe!

[Islanders66]

Yes, using dynamic link in 5.5 does save a file from Premiere to Encore. It was easy for me to figure out the first time. In fact using dynamic link is the only way I've done it. Click send to Encore, choose file location, click build, insert DVD, done. Dynamic like has worked perfectly for AE, Audition and Encore. I suppose that I would like to know where all the files are when burning a DVD or BR so that I can delete them if I want to.

I'm looking forward to using FPC 7 and Avid less and focus more time on Premiere and the rest of the creative suite. I'm picking up all kinds of tips and tricks here as well.

[srukweza-PhMhaR]

Another way is to exit Premiere after editing, then launch Encore, create a new project and save it in your preferred location. The Encore project directory also contains the Encore Project folder. If you delete the folder at anytime and try to launch Encore project, it will prompt for that folder and it won't launch. So it is ideal to delete after your client is fully satisfied with the DVD or BD.

Premiere, After Effects and Encore also create media cache in the same folder, and this is one to watch as it can take huge space, depending on the number of projects you are working on in all applications. These are no hassle because if deleted, they can be recreated when the project is opened. Don't know if in CS6 the media conforming can be done in the background while you are working or have to wait.

Adobe Dynamic link has always worked like a charm for me, coz I create animated Blu Ray motion menus and the text flying on the screen with SFX in AE compositions! I don't have to export these compositions and wait for the redering to complete. I will simply go into Encore and import AE compositions, then Premiere Pro Sequence with all the chapters set in PrPro, then blank main and sub menu and link everything within a couple of minutes. After that I am off to bed and Encore will create a 25GB BD image in under less than 5 hours on my HP workstation. With DVD it will take approximately the same time for a sequency up to 2hrs, coz I do not use MRQ as it is time consuming. Overall I get outstanding quality on the DVD, downscaled from AVCHD and HDV mixed sequence with extracted audio or automatic dialogue replacement files .

AWESOME!!!

[excited_Genie16B8]

Now that you can create a pop up menu for a DVD

I'm a little confused about that.  As far as I know, the DVD spec doesn't allow for pup-ups.  Only Blu-ray can do that.

[srukweza-PhMhaR]

Jim Simon wrote:

I'm a little confused about that.  As far as I know, the DVD spec doesn't allow for pup-ups.  Only Blu-ray can do that.

You could be right, or I misunderstood a statement I read about Encore 64bit. Does anyone know if Encore improved the subtitling options and the ability to see a wave file. I submitted a feature request on that but I am not pretty aware of all the gravy sweetening Encore!

[Islanders66]

I thought you all were talking about Media Encoder! I haven't used Encore, yet. I was wondering how you were able to mix PrPro and AE to make your BR or DVD.

Edit: I have been using Encore via Dynamic Link to make DVDs, although for some reason I thought it was Media Encoder, maybe because I've never opened Encore.

[srukweza-PhMhaR]

Islanders66 wrote:

I thought you all were talking about Media Encoder! I haven't used Encore, yet. I was wondering how you were able to mix PrPro and AE to make your BR or DVD.

Edit: I have been using Encore via Dynamic Link to make DVDs, although for some reason I thought it was Media Encoder, maybe because I've never opened Encore.

Encore is the powerhouse of DVD and BD creation for Adobe Premiere Pro. You can mix any footage in premire pro when editing. But when creating assets for use in Encore as BG menus, consider the maximum resolution allowed, as it may be required for downscaling.

[Islanders66]

srukweza wrote:

Encore is the powerhouse of DVD and BD creation for Adobe Premiere Pro. You can mix any footage in premire pro when editing. But when creating assets for use in Encore as BG menus, consider the maximum resolution allowed, as it may be required for downscaling.

Thanks! I'll keep that in mind when researching Encore.

The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

From the discription it looks like there will be a lot of people switching over from Color that have been holding out. However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things, although it might work with applying the to the layers of AE and the replace with AE comp with that. Either way it's a huge step in the right direction!

[shooternz]

@ Islanders66...you say this..

The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

Then almost next sentence, same post ...you say this...

However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things

I do not know of any CC application that uses DL as of now.  It is quite normal,  currently, in the professional arena to use intermediates, xml, edl and cdls to flip between applications.

Until Adobe brings DL to the Speedgrade  / Premiere "table" ( and I am sure they are working on it)...we all will have to have patience...but meantime...the workflow Adobe shows us for Premiere & Speedgrade...looks simple and easy to go with for now.

BTW: out of interest...what  is your  current application that you mention ? ...."color grading/correction that uses layers and "looks"

[Islanders66]

shooternz wrote:

@ Islanders66...you say this..

The more I look into SpeedGrade the more I think I'll be upgrading sooner than later. I'm already using a color grading/correction that uses layers and "looks"

Then almost next sentence, same post ...you say this...

However, no dynamic link for SG might make me hold off for now as I'm not into exporting without the option to go back and change things

I do not know of any CC application that uses DL as of now.  It is quite normal,  currently, in the professional arena to use intermediates, xml, edl and cdls to flip between applications.

Until Adobe brings DL to the Speedgrade  / Premiere "table" ( and I am sure they are working on it)...we all will have to have patience...but meantime...the workflow Adobe shows us for Premiere & Speedgrade...looks simple and easy to go with for now.

BTW: out of interest...what  is your  current application that you mention ? ...."color grading/correction that uses layers and "looks"

The workflow that I'm using now is sending each clip to AE with Replace with AE option. Then applying custom grading and correction adjustments to each layer in AE. The applicaton I'm using while in AE is ColorGHear. http://colorghear.com/the-revolution-begins-january-1st/#comments

I can get much better results than I can using Color, for exaple, and other reviews claim they get better results than from Colorista, or MBL. At any time I can also right click on the clip and edit the orignial AE comp, delete it, or whatever. I also haven't used applications such as DaVinci Resolve but at least the approach I'm taking is moving in the right direciton, and the Dynamic Link workflow is unique, as you have ponted out, that gets me the results I want.

Even Shian who designed ColorGHear instructs people to export the entire PrPro project to AE via XML, and use FilmLock, but I prefer the dynamic link method between Premiere and AE.

The reason SpeedGrade is appealing is that it uses the same approach of applying layers for each level of correction or grade. That's why I was hoping SpeedGrade could be applied to layers in After Effects.

It's understandable that not many people have heard of ColorGHear, as it just started. Shian has been very generous to share his workflow and approach to color grading. He is a serious colorest who works on major motion films. These are not just presets either (although you can create your own) he has programmed certain tools and has them dialed and you can combine them, adjust them for the desired effect, which is a very professional result. He is also very generous sharing his knowlege.

I'm also hoping After Effects has scopes built in. That alone would go a long way for me to upgrade. Also, I'm not just using presets to get a certain look. I'm taking a class at our local tech college that uses Color, but as this has been discontinued and I don't edit on a Mac, I use ColorFinesse and ColorGHear plugins in AE.

Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

Message was edited by: Islanders66

I'll try and post a screen shot that I used on my first project with CGH. This is just one example.

[shooternz]

Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

Currently for any in-house post...I use the CC tools in Premiere as well as Resolve Lite.  At times Colorista and MB looks will be part of the CC / Grade process.

I avoid using AEFX for CC mainly because of lack of scopes.  Broadcast legalising is an essential part of my CC / Grade workflow. (CC outside of here is always Da Vinci Resolve and Flame)

I particularly like the Node approach in Resolve and although not "nodes" I look forward to Speedgrades "layer" approach which will be similar in effect.

I am hoping SPeedGrade has the same "sensitivity and finesse" that Resolve has.  Premiere CC tools are difficult to be subtle with IMHO.

I do not know what masking / power windows SpeedGrade will bring.  I hope they are relatively powerful because its important to me.  Crossed fingers.  No idea what blurs are available and not sure how SPeedrade works secondaries.

I also anticipate that SpeedGrade wil have a reasonably easy workflow between itself and Premiere despite no DL.

[Islanders66]

shooternz wrote:

Out of interest.. what color grading application are you using and what specific features are you looking forward to in SpeedGrade?

Currently for any in-house post...I use the CC tools in Premiere as well as Resolve Lite.  At times Colorista and MB looks will be part of the CC / Grade process.

I avoid using AEFX for CC mainly because of lack of scopes.  Broadcast legalising is an essential part of my CC / Grade workflow. (CC outside of here is always Da Vinci Resolve and Flame)

I particularly like the Node approach in Resolve and although not "nodes" I look forward to Speedgrades "layer" approach which will be similar in effect.

I am hoping SPeedGrade has the same "sensitivity and finesse" that Resolve has.  Premiere CC tools are difficult to be subtle with IMHO.

I do not know what masking / power windows SpeedGrade will bring.  I hope they are relatively powerful because its important to me.  Crossed fingers.  No idea what blurs are available and not sure how SPeedrade works secondaries.

I also anticipate that SpeedGrade wil have a reasonably easy workflow between itself and Premiere despite no DL.

Yes, I'm interested in the same features. Right now I have more experience with Apple Color that has 7 secondary correction rooms, a robust nodes approach in the FX room, tracking, etc. I haven't had a chance to test the secondary corrections in AE and I'm not as familiar with AE broadcast safe mode, although the power mask and tracking in AE are useful, as well as the scopes in ColorFinesse. I'm hoping the secondary correction features in SpeedGrade are as good as Apple's Color. If not SpeedGrade will be a joke, although I expect it to be more robust as it is a professional color grading program. In the next few weeks I'll have time to poke around more in AE and test out the secondaries. Even without DL in the first release it is still a huge step forward and confident Adobe listens to it's user base to make improvements.

[lasvideo]

I agree Islanders66, I wont be using SG until a clip level dynamic link is implemented. I feel confident this will be done. Until then I will just use Colorista 2 which is a very capable CC app as well.

[taz291819]

Can a beta tester please test something for me?

Take some interlaced footage, either SD or HD, and export it as H.264 interlaced (not the Blu-Ray preset, just the normal H.264 preset, as the Blu-Ray preset actually works correctly in CS5.5).  Does the output look ok, or does it drop half the fields (like de-interlacing)?  If you look at round objects, it should be smooth, not jagged (like an aliasing artifact).

Many thanks!

[srukweza-PhMhaR]

taz291819 wrote:

Can a beta tester please test something for me?

Can someone explain how superior Adobe transmit work in CS6?

[Wil Renczes]

srukweza wrote:

Can someone explain how superior Adobe transmit work in CS6?

Sure.  If you've used any 3rd party i/o solution with PPro in earlier releases, you'll know that each 3rd party had their own 'editing mode', and for any broadcast monitoring to work, you had to be using one of their editing modes.  There were several drawbacks from this - some things would perform worse in a 3rd party sequence whereas that wouldn't occur in native Adobe sequences, or the source/program monitor playback behaviour would be inconsistent, or you couldn't bounce those projects to another system without the hardware for editing; CUDA wouldn't work as well in 3rd party sequences, etc, etc.  Also, the older SDK model was a lot more complicated for the 3rd parties.

In a nutshell, what we did was simplify everything tremendously in this release.  Now, you always use Adobe native sequences;  no 3rd party editing mode required.  Also, whatever you get on the program monitor is what you get out of Mercury Transmit;  if you're using CUDA (or OpenCL on the newly supported macs), you get all that realtime goodness reflected out through your i/o card too.  It's also a lot simpler for the 3rd party developers too, as the Transmit SDK is a much simpler model to support.

The other cool thing is that it means that Adobe can support the same 3rd party transmit plugin in several apps.  I believe Prelude, PPro, and Encore already all support Transmit;  I'm not sure about AE or Audition at this present moment.  Todd might know on that front.

Cheers

[srukweza-PhMhaR]

Wil Renczes wrote:

srukweza wrote:

Can someone explain how superior Adobe transmit work in CS6?

Sure.  If you've used any 3rd party i/o solution with PPro in earlier releases, you'll know that each 3rd party had their own 'editing mode', and for any broadcast monitoring to work, you had to be using one of their editing modes.  There were several drawbacks from this - some things would perform worse in a 3rd party sequence whereas that wouldn't occur in native Adobe sequences, or the source/program monitor playback behaviour would be inconsistent, or you couldn't bounce those projects to another system without the hardware for editing; CUDA wouldn't work as well in 3rd party sequences, etc, etc.  Also, the older SDK model was a lot more complicated for the 3rd parties.

In a nutshell, what we did was simplify everything tremendously in this release.  Now, you always use Adobe native sequences;  no 3rd party editing mode required.  Also, whatever you get on the program monitor is what you get out of Mercury Transmit;  if you're using CUDA (or OpenCL on the newly supported macs), you get all that realtime goodness reflected out through your i/o card too.  It's also a lot simpler for the 3rd party developers too, as the Transmit SDK is a much simpler model to support.

The other cool thing is that it means that Adobe can support the same 3rd party transmit plugin in several apps.  I believe Prelude, PPro, and Encore already all support Transmit;  I'm not sure about AE or Audition at this present moment.  Todd might know on that front.

Cheers

That sounds cool! So does this means good news for Matrox, Blackmagic, Aja users?

[Bengaldad]

Can anyone who has had a chance to see Adobe's Premiere Pro CS6 tell me if it will now allow the MVC footage from the Sony HDR-TC10 3D camcorder to be ingested?  This camera shoots in full 1080p 3D in the MVC format. I have been submitting feature requests for this to be added to Premiere Pro for about a year now. Currently  I am having to edit this footage in Cyberlink's Power Director 10 and in Vegas Pro 11.  I much prefer to edit in Premiere Pro which runs very fast and well on my Mac Pro, but Premiere Pro CS5.5 will not import the MVC footage.

Tom

[wonderspark]

Two things interest me at this point:

1) Through May 6th, you can buy 5.5 for $399 and get CS6 for free, whereas if you upgrade direct from CS5 to CS6, it's $749. Why is it $350 more to upgrade once? Is $350 the value of Adobe's annoyance for skipping a half-level, or is this an unintended loophole?

2) SpeedGrade specifically lists the Quadro 4000 as optimal, yet every other program in the suite lists the GTX 285 as supported for GPU acceleration. What is the difference in performance in GPU acceleration between a Quadro 4000 and GTX 285?