We made some changes to the header bar and received some feedback from the beta community that has now been addressed.  Follow the original thread here: https://community.adobe.com/t5/premiere-pro-beta-discussions/discuss-redesigned-header-bar/td-p/12128985   There are three main issues that we believe we have solved with this change: Show the workspace you are currently using Switch workspaces with 1 click, not 2 Retain double click to reset the workspace   Here are the options You now have two different options for showing workspace names, just the active one, or all. The default is still to not show workspace name.   Show workspace label Just shows the active workspace name Change workspaces from the dropdown menu Double click workspace label to reset to saved layout   Show workspace tabs Show all your workspaces in a compact view The active workspace is highlighted Click on a workspace to activate it Double click to reset Scroll the view left and right Drag the left divider bar to expand the area to show more workspaces If you select a workspace from the dropdown or Window menu, the active workspace will scroll into view   Pro tip If you are like me, you probably only use 3 or 4 workspaces (mine are Editing, Audio, Color and Captions & Graphics and a custom workspace.) You can reduce the number of workspaces that show up in the list by choosing “Edit Workspaces” and dragging the ones you don’t use to below the “Do Not Show” line.  You can also drag the workspaces into the order you want, maybe based on the way you typically make your way through a workflow.   We want to know what you think.  Please join the conversation below. ... View more

Do you want to add ProRes to Quick Export?  Now you can . . . and any other preset too! Introducing the preset manager!     Quick export is a quick and simple way to get media out of Premiere Pro without much fuss and if H264 is what you need, it’s great for that.  It’s been in the product for a little over a year, and the most common thing we hear is “yeah, Quick Export is cool . . . but where’s ProRes . . . or DNxHD or HEVC or those custom presets I’ve made”. The Preset Manager allows you to search for all the system and custom presets on your machine and favorite them, so they show up in quick export.  Let’s face it, you probably use about 3 presets on a regular basis.  Just put those 3 favorites in Quick Export and save time searching each time you export.   Testing the Preset Manager without the rest of export mode The Preset Manager is part of the redesign for the new Export Mode and you can test it as part of that feature set, but we are also considering to release it before the full Export Mode.  So, if you want to test this exactly how it is likely to ship at first you need to disable the new modes for Import and Export.  Follow the discussion on Export mode here: https://community.adobe.com/t5/premiere-pro-beta-discussions/discuss-new-export-workflow/td-p/12130692 To disable the new Import and Export modes, hold shift + click the beta beaker icon in the upper right   A window will pop up. Enter this code NewImportExportModes. Click disable.  Premiere Pro will need to shut down   Re-launch Premiere Pro Your workspaces will almost certainly be messed up (missing the header bar / workspace bar).  Reset each workspace you use. Window > Workspaces > Reset to saved layout Quick Export is the icon in the upper right of the workspace bar  In the Preset dropdown, choose “More presets…”   What does the Preset Manager offer? Search and inspect all the encoding presets installed on your system.  These can be presets you created in Premiere Pro or Media Encoder Only show System or Custom presets Favorite presets with the star icon.  Favorited presets show up in Quick Export Show favorites only Sort presets by column Inspect the summary of the encoding parameters Import and export .epr encoding preset files Delete custom presets (you cannot delete system presets)   Match Sequence preview settings With this option you can simply match the sequence preview codec.  This has the same functionality as the “Match sequence” checkbox in the export settings.  This is a powerful time saving workflow.  If you intend to export ProRes 422, for example, adjust the sequence settings to use ProRes 422 as the preview render codec and render effects as you work.  Then when you are ready to export choose the “match sequence preview settings” and Premiere Pro will not need to re-render anything.  The output file will be generated very quickly.   We want to know what you think.  Please join the conversation below. ... View more

The RGB curves will now adjust size and aspect ratio to dynamically expand along with the Lumetri panel, rather than locked in a 1:1 aspect ratio.       You can also select an individual curve directly from the channel selection circles. Or by grabbing the curve directly in the curve area, and making adjustments directly to that channel.       This makes it easier for users to scale up the RGB Curves UI for finer control over making curve-based adjustments to the overall image, or on individual color channels     We want to know what you think.  Please join the conversation below. ... View more

LUT processing in After Effects now has the option to use a more precise calculation method called Tetrahedral interpolation. The result is smoother gradients and better-looking results when applying LUTs.  The old method is called Trilinear and is still available. This option can be found in the Project Settings.   Below is an extreme example for illustrative purposes:    ORIGINAL:  Your basic ramp . . .       TRILINEAR (old method):  Notice the severe banding.  This occurs when you have smooth gradients and the LUT doesn’t have enough precision to handle the small steps.  In practical terms, outdoor shots with a blue sky are a good example of smooth gradients that you see often.       TETRAHEDRAL (new method):  Notice the smooth gradient.  Tetrahedral uses a superior method to interpolate values in between the steps, so even with a low precision LUT, you get very good results.      Tetrahedral LUT interpolation requires GPU processing and is a little bit more computationally intensive, but we don’t think it will be noticeable.  Let us know if you see performance degradation.   We want to know what you think.  Please join the conversation below.   ... View more

We are switching the LUT interpolation method of Media Encoder to use a more precise calculation method called Tetrahedral interpolation.  The previous method is called Trilinear.  The result is smoother gradients and better-looking results when applying LUTs   Below is an extreme example for illustrative purposes:    ORIGINAL: Your basic ramp . . .     TRILINEAR (old method):   Notice the severe banding.  This occurs when you have smooth gradients and the LUT doesn’t have enough precision to handle the small steps.  In practical terms, outdoor shots with a blue sky are a good example of smooth gradients that you see often.    TETRAHEDRAL (new method): Notice the smooth gradient.  Tetrahedral uses a superior method to interpolate values in between the steps, so even with a low precision LUT, you get very good results.   Tetrahedral LUT interpolation requires GPU processing and is a little bit more computationally intensive, but we don’t think it will be noticeable.  Let us know if you see performance degradation.  When the renderer is set to software, the processing will fall back to the older trilinear method.  This feature is already available in Premiere Pro in the shipping version 15.0 and later.   We want to know what you think.  Please join the conversation below.   ... View more

The colorized vector scope displays the chroma component of your image for more accurate color signal monitoring.         The improved low pass noise filter cleans up distracting noise in the trace, making it easier to see your color and luma values.       Double-click the new vector scope for 2x zoom to make precision adjustments, for example for white balance or skin tones. The Flesh Tone Line (FTL) provides a helpful reference.       Improved 8-bit Histogram offers a brighter and crisper display and supports both SDR and HDR content.     This makes the 8-bit histogram an accurate 256 bars plot and removes the fuzziness.   We want to know what you think.  Please join the conversation below. ... View more

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 selected clip.  This should match the color space that you shot in the camera – V-Log, S-Log, Canon Log.   Place the media on a Rec709 sequence if working in standard dynamic range.  You can also choose to put it on a PQ or HLG timeline to work in HDR.  Premiere Pro reads the media color space and does the appropriate conversion from source media color space to the Premiere Pro sequence color space. When you change the working color space in Sequence Settings, Premiere executes the color space transformation, no need to add a different Log > Color Space conversion LUT.   This new color managed workflow is also useful for moving projects out of Premiere and maintaining the wide gamut and luminance of HDR video.   To export in HLG or PQ, choose format H264 or HEVC, select the Main10 or High10 MPEG profile under Encoding Settings, then choose Rec.2100 HLG or Rec.2100 PQ as export color space.   Make sure that the check boxes on the right of Profile and Level are NOT checked, and select Main10 if you are exporting in and HDR format. Then set the Export Color Space to one of the three HDR color spaces.   Beta testers should note that there is a significant difference between clips that are color managed from log to Rec 709, vs clips that use a LUT to convert.   LUTs can include tone mapping, knee and highlight roll off values that yield which yield a good looking image with little fuss but often clip highlights and shadows and that detail in unrecoverable.  The LUT processing is destructive.  With color managed workflows, none of the color information is lost.  But significant tone mapping is required to fit the enormous dynamic range of log (~14 stops) into the very narrow range of Rec709 (~6 stops).    We are still working on a tone mapping approach.  You are likely to see results that look a bit blown out in Rec709 sequences.  Log to HDR sequences look fantastic, however.      The Waveform above is from a Color Managed clip, none of the highlight or shadowed values have been clipped or lost, you can see them extending way above 100 IRE and dipping below 0.   The Waveform above is from a LUT converted clip, all highlight values have been remapped or clipped to values below 100 IRE, and shadow values are either remapped or crushed to values greater than 0 IRE.   We want to know what you think.  Please join the conversation below.       ... View more

This expands the list of color managed codecs.  H264/HEVC represents the majority of DSLR and mirrorless prosumer cameras on the market, and XAVC-L / XAVC Slog are heavily used in broadcast HDR workflows.   “Color managed” means that Premiere Pro read the color tags in the file metadata and accurately converts the file to the sequence color space. If the color spaces of the file and sequence are the same, the Premiere Pro passes the colors through to the sequence without conversion. Color management is necessary for HDR production.   Codecs that are not color managed will always be interpreted as Rec709, which worked just fine for a long time.  But with HDR becoming more and more mainstream, proper color management is necessary.   Full list of color managed codecs Codec Wrapper Color Space New? Apple ProRes ·      422 HQ ·      4444 ·      4444 XQ .MOV Rec. 709 Rec. 2100 HLG Rec. 2100 PQ Previously supported Sony XAVC-I (all intra) .MXF Rec. 709 Rec. 2100 HLG Previously supported Sony XAVC-L (long GOP) .MXF Rec. 709 Rec. 2100 HLG NEW H.264 / HEVC (H.264) .MP4, .MOV Rec. 709 Rec. 2100 HLG Rec. 2100 PQ NEW   Steps to check the color space of the clip: Check the Properties Right click on the clip in the project panel of timeline and choose “Properties” Look for Color Space   Check interpret footage Right click on the clip in the project panel and choose “Interpret footage” Look for the Color Management section at the bottom     If Properties or interpret footage do not show a color space, the file is not color managed and will be treated at Rec709.   We want to know what you think.  Please join the conversation below.   ... View more

You can now choose to automatically shut down your computer when the entire Media Encoder render queue is complete.  Check the option at the bottom of the queue.      This is useful to save energy by powering down the system after a long overnight render job for example.  Media Encoder will issue the shutdown command to the OS, but other apps could still interrupt the shutdown process at the OS level, so be sure to quite those other apps.  This option is sticky, meaning it will still be checked the next time you launch Media Encoder.   Be careful testing, because . . . your computer will shut down . . . which is the intention of course 🙂   This feature is available in AME beta 22.0 build 89 and later.   We want to know what you think.  Please join the conversation below. ... View more

We are making some changes behind the scenes which will temporarily disable automatic splitting of speakers (Speaker 1, Speaker 2) in release and older beta builds. Don’t worry! We know it’s an important feature. It will be back in release builds as soon as possible. Note: The feature is up and running in the latest Premiere Pro (beta) 15.4 build 31 or later.    If you are in the early access program for Speech to Text and you have multiple speakers in your footage, we recommend using Transcription in the latest beta build of Premiere Pro.    Not in the Speech to Text early access program? Apply now: http://adobe.ly/speechtotextpr      ... View more

Adobe and RED have recently made changes to the default behavior of RED Raw R3D color space handling in Premiere Pro (14.9).  R3D files will now default to Log3G10/REDWideGamutRGB instead of Rec 709/BT.1886 which was the previous behavior.  Decoding the raw files to wide gamut is necessary to retain the maximum dynamic range of the material and prevent highlight clipping.  But the footage will look flat, so an additional step is required to get the footage to look correct in a Rec 709 timeline.    Premiere Pro does not currently have the ability to change R3D decode parameters project wide but there are still some easy ways to get everything looking correct while maintaining the maximum quality of the image.   Use Lumetri to convert from Log to Rec709 Download the LUT linked below or make your own in REDCINE-X with the following steps Load a clip in REDCINE-X Generate the desired IPP2 Output Transform, for example a Rec.709 with Medium Contrast and Soft Highlight Roll-off. Save it as a .CUBE LUT In Premiere Pro, apply Lumetri to a selected clip and specify that LUT as the Creative LUT. Save this Lumetri effect as a preset by right-clicking the hamburger menu at the top of the Lumetri panel. Apply this preset to all your .R3D footage on the timeline OR – you can use an adjustment layer spanning the length of your timeline.   Lumetri order of operations Lumetri processes from the top down and all the math is done in 32bit floating point.  This means that over exposure in one section of Lumetri can be brought back in another section or another Lumetri instance.  LUTs are a notable exception to this rule, they are destructive and any values driven above 100 IRE by a LUT will indeed be clipped and are irrecoverable.  This is why the LUT should go in the Creative section of Lumetri.  It gets processed after all the Basic corrections, giving you the opportunity to recover overexposed areas with the Basic controls.       Why not apply the preset as a Source Clip effect to all my footage in the bin? This can be a convenient option but does not protect you from clipping.  The source clip effect is processed first, so any clipping that may be introduced by the LUT cannot be brought back with an instance of Lumetri on the clip in the timeline.  You can reduce the exposure or highlights in that source side Lumetri effect but remember that this will affect every instance of this media in your project and may not be appropriate.  If this workflow sounds like it will work for you, here are some ways to make is a bit more convenient.  To quickly find all the .R3D clips in your project simply search for “.R3D” in the Project panel search bar.  Creating a Search Bin is another way to quickly find all your RED media. You can then apply the preset to all the clips in the project panel.      Download the LUT here: RWG_Log3G10_to_REC709_BT1886_with_MEDIUM_CONTRAST_and_R_3_Soft_size_33.cube  Download the Preset here: RED Log3G10 to REC709.prfpset      ... View more