Celebrating 25 years of Adobe Premiere Pro

Celebrating 25 years of Adobe Premiere Pro

Our birthday twin Premiere Pro has turned 25 this year (both us and Adobe’s industry-leading NLE began life way back in 1992). And while we’ve been building our modest creative technology empire, Premiere has managed to seduce the Coen Brothers, David Fincher and a small army of editors, as evidenced by their birthday video, below. 

Obviously all of these people are just as excited by our birthday, and the gifts they definitely sent us are merely lost in the post.

It’s easy to see why Premiere won people over, though – its earliest iteration was the first software-only editing system that you could run on a normal computer, and by 1994’s version 4.0 it was hitting full screen broadcast quality with 60 fields per frame. By 1996, it was offering a 4K frame size for use with digital signage, and has continued to push resolution limits, with the current version maxing out at 16K x 10K.

Since 2006, a Dynamic Link to Adobe After Effects connected traditional editing timelines to motion graphics and visual effects production, and cross disciplinary support has only increased since the move to Creative Cloud.

You can see a longer, more nostalgia-heavy and occasionally surprising (did you know Netflix had been around since 1997?) rundown of Premiere’s illustrious history here.

In the latest iteration, previewed at NAB, new media manager features in both Premiere Pro and Media Encoder give you much greater control over the handling of your files during the ingest process, and allow for more flexibility when working with very large media. You can set Premiere Pro to copy media to a specific location on your machine as it imports, and even begin editing immediately while your media copies in the background. If your workflow requires a transcode, you can easily set Premiere Pro or Media Encoder to handle that step for you too.

You can also generate proxies on ingest, and toggle between these and your full-res media at one click, in order to better support 6K and 8K workflows. There’s also support for advanced Lumetri scopes and the Rec2020 colourspace.

And when it comes to the workflows of the future – VR, for example, Premiere is ready: VR Video mode allows you to use pan and tilt controls to preview the experience inside the sphere. You can even click-drag directly on the video clip and freely pan around so you know what your viewer would be seeing when looking in a given direction. When you’re ready to share, you can easily add a metadata flag to ensure you’ll get the full panoramic experience on supported sites like YouTube and Facebook.

If you want to know more about Adobe, give us a call on 03332 409 306 or email adobe@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter, or ‘Like’ us on Facebook.

Media Composer v8.8 is here!

Media Composer v8.8 is here!

Media Composer v8.8 is here and ready for download! Head to the Download Centre in your Avid account to get the update now, or keep reading to see what’s been updated.

New features

Version 8.8 has seen a raft of tweaks and new features to make your editing workflow even smoother. Here are the highlights – a more detailed breakdown is available in the Avid documentation:

– Timeline Clip Notes You can add notes to clips in the Timeline and view all the notes in the Timeline Clip Notes Window. (Used to be Adding Comments.)

– Frame Cache for Effects Editing enabling frame cache when performing colour correction.

– ScriptSync ScriptSync uses phonetic-indexing technology to analyse the audio portion of a clip and match it to lines of the script text.

– Bin sharing on non-Avid storage The editing application will notify you if your third party storage is emulating Avid NEXIS or Avid ISIS storage.

– Change to Find Window A few changes have been made to the Find Window.

– Change to the Script Window A few changes have been made to the Script Window.

Bug fixes

As well as new features, v8.8 also brings with it a range of welcome bug fixes, including:

– Not being able to open a project if the project was named Clip.

– Not being able to successfully drag and drop audio clips above or below the TC track.

–  Custom Colours not staying in the colour palette when using clip colour.

–  Disabling the ‘Auto-create new tracks’ setting was ignored when using Edit While Capture clips.

–  The Cutlist EndHdl timecode was short one frame.

–  (List Tool) The marker values were empty in an Optical List.

–  (List Tool) Markers did not display on Opticals in an Assemble List.

–  When performing an Export to Device with an XDCAM device attached, you might have received a ‘Please connect XDCAM device or insert disk’ message.

–  In some instances, exporting a graphic from linked XAVC Long GOP media failed with an assertion error.

–  In some instances, rendering a sequence with muted clips resulted in clips being partially rendered.

–  The Project Window summary might have been empty on a Mac system, or contained garbled text on a Windows system.

–  When importing some .wav files, the name of the files include a / which is an illegal character that is not supported in Interplay. This is because Media Composer uses the values of Scene/Take for the file name when importing Broadcast Wave files. An additional Import Setting has been added to the Import Settings dialogue. The ‘Use Broadcast Wave Scene and Take for Clip Names’ is defaulted on. If you are importing Broadcast Wave files and you do not want them named using Scene/Take, you must deselect this option in the Import Settings:Audio dialogue box.
Limitations:  There are 5 limitations and workarounds outlined in the ReadMe for Media Composer v8.8.
New Nvidia Driver: Nvidia Driver v375.86 is supported with this release.

Availability

Media Composer v8.8 is available now. If you have already installed the latest version of Media Composer, you will be notified of the availability of the v8.8 upgrade via the Application Manager v17.2. The Apps tab will also provide a link to download and install the update.

If you bought Media Composer on or after 16th February, 2017 you will receive this v8.8 update in your Avid Master Account.

If you are on a current Upgrade & Support plan you can download the Media Composer v8.8 update either from your Avid Master Account or the Avid Download Centre (login and password required). However, if you are not on a current Upgrade & Support contract, you must purchase either a new Media Composer Subscription or Perpetual licence to receive this update.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

Avid welcome Adobe Premiere Pro users to MediaCentral

Avid welcome Adobe Premiere Pro users to MediaCentral

Premiere Pro users, your years of warring with your Avid-loving counterparts are over. The two editing giants have joined together to bring harmony to the NLE market and peace to our timelines (and/or do some cynical marketplace positioning, depending on your worldview).

Adobe have previously teamed up with Maxon to give After Effects users dynamic access to richer 3D tools, and now they’re doing their editors a similar favour. The update will allow Premiere Pro editors to connect to Avid’s production environment via Avid MediaCentral | UX.

How does it work?

You will need to head to myavid.com and download the MediaCentral Premiere Pro Connector and install it on each of your Premiere Pro-equipped machines. You’ll then be able to see the Avid MediaCentral | UX HTML5 user interface within the Premiere Pro interface, and use it to access the wonderfully named “Avid asset management realm”, which consists of Interplay | Production, Interplay | MAM and iNEWS.

What can you do? 

Once you enter the realm, you’ll be able to:

– Search for media assets using the central Media | Index.

– Chat with other MediaCentral | UX users.

– Navigate database hierarchies.

– See, add and modify metadata.

Will you be able to register Avid Assets to Premiere Pro projects for editing? 

Hell yes, friend. Not only that, but you’ll be able to check out master clips in Premiere-supported formats, check out simple sequences for in-place editing and send rendered sequences back to Avid.

If your Avid media is not directly supported in Premiere, you’ll still be able to access it via an optional conversion to MXF OP-1a and simple XML shortlists.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

As well as announcing availability of their long-awaited Ripple panel, Tangent Devices have revealed that Adobe Premiere Pro and Apple Final Cut Pro X now sport improved Tangent integration. 

“Adobe announced that they’re including support of our panels in the next release of Premier Pro. They have also implemented full support of our Mapper application, so you’ll be able to customise the layout of the controls on the panels. This is really exciting news for us and we’ve been looking forward to this as it’s been the source of a lot of requests from users,” said Tangent’s spokesperson. (You can see the Adobe announcement here).

Tangent also announced that support for FCP X’s Color Finale plug-in. “We already have pretty much full control of FCP X with our panels thanks to the efforts of Sam Mestman and his extensive use of our Mapper. Now the guys at Color Grading Central have announced full support of our panels in their Color Finale plug-in for FCP X. With Support for the Mapper included, you can customise your control layouts. We’re excited to see this expansion for the support of our panels within FCP X and we’re looking forward to the release of this new version. You can read more about Color Finale here.”

For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2016: axle 2016 to include Panel plug-in for Premiere Pro CC

NAB 2016: axle 2016 to include Panel plug-in for Premiere Pro CC

Alongside their new Pulse solution, axle Video have used NAB 2016 to debut  axle 2016, the newest version of their radically simple media management software.

The biggest change is the inclusion of axle Panel for Adobe Premiere Pro CC. This new plug-in “saves time and effort and improves creativity by allowing Adobe Premiere Pro users to instantly access and use any media managed by axle 2016 and the core axle search features from within their editing environment,” according to the axle team.

Other new features include: 

– Elastic search.

– OSX status application.

– Improved process monitoring.

– Improved administration.

– Large text fields.

For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

 

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

Avid today have announced and demonstrated a huge move toward making their production asset management system, Interplay Media Central, the open arena they have talked about for a number of years now.

 

Adobe Premire Pro now has direct integration with the Media Central platform directly in the application.

Editors can now search for sequences, assets and more that are checked into Interplay via a custom pane in Premiere Pro.

We’ll be checking this out in more detail over the next few days and will report back with more info.

For more information on our avid solutions visit Jigsaw24.com/avid or email broadcast@jigsaw24.com. For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

 

 

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Workflows we love: Avid and DaVinci Resolve at Timeline TV

Timeline TV provide coverage for some of the world’s largest sporting events, including Wimbledon, the 2012 Olympics and the Tour de France. Their Timeline North office in MediaCityUK doubles as a base of operations for some ambitious post work, with their first year in MediaCityUK seeing them take on a huge array of work with the BBC, as well as film projects and dubbing work. 

One of the latest projects to go through the facility was ‘Andy Murray: The Man Behind the Racket’, an hour-long documentary for the BBC which chronicled Murray’s run up to Wimbledon 2013. Although Murray picked up injuries during the initial shoot and only returned to competition the day before the project was due to be completed, Timeline TV were able to pull together a final cut in record time thanks to a combination of Avid Symphony, Blackmagic Design’s DaVinci Resolve and Avid Pro Tools.

“The Andy Murray documentary was offlined on an Avid Symphony,” explains Eben Clancy, Timeline TV’s Post-Production Director and head of its MediaCityUK facility. “It was due to be onlined in Symphony too, but Andy won Queens the day before the deadline, so we had to extend the offline, which left us with very little time. We sent an AAF of an offline to DaVinci and contracted Chris Packman to grade it – he’s a big DaVinci supporter – while our editor, David Horwell, was still making final tweaks.”

After the final AAF was graded, the project then made a round trip back to Symphony for its final online edit, with a Pro Tools dub being carried out the same way. “Chris managed to grade, render and export an hour long doc in eight hours, which we were seriously impressed by,” says Eben.

His team have been using the same workflow to handle an extremely complex offline for BBC series Fierce Earth. “There are Sapphire effects and time warped shots throughout, plus graphics with nested pictures,” explains Eben, “but we’ve still been able to round trip an Avid AAF through DaVinci and grade every shot, even if we couldn’t always see the final result. The only real issue was the time warped shots. DaVinci could handle shots running at 500% or less, but we had shots running at 5000%. We had to do ‘video mixdowns’ of them and then they all worked smoothly, and we managed to grade seven episodes in two and a half days.

“The main benefit of Avid AAF and round tripping from Symphony to Resolve is that the final sequences came back into Avid with all the Sapphire plug-ins, nested shots etc perfectly in place. The edit was identical to the offline but the pictures being referenced were beautifully graded. Joy!”

Want to know more about your post workflow options? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook.

 

Avid offers first Symphony 6.5 free trial!

Avid offers first Symphony 6.5 free trial!

As the first quarter of 2013 winds down (where did that go?) we say goodbye to some fantastic offers from Avid. But if you missed out on their massive Symphony 6.5 discount because you weren’t sure Symphony was for you, we’ve got good news: there’s a free trial out. 

Avid Symphony and Nitris DX

You can now head over to the Avid site and download a free 30-day trial of Symphony 6.5 or Media Composer 6.5. Okay, so you don’t get access to Symphony’s full complement of Boris Continuum Complete plug-ins, but you can get used to massive timesavers like ScriptSync and PhraseFind, and if you have a Nitrix DX interface you can use the Universal Mastering toolkit to give your projects an extra polish.

Download your 30-day free trial of Media Composer 6.5 or Symphony 6.5 here.

Want to know more? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news and reviews, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook

Avid extend ISIS trade-in and add new Final Cut seat swap scheme

Avid extend ISIS trade-in and add new Final Cut seat swap scheme

Anyone who thought they’d missed the deadline to take advantage of Avid’s ISIS shared storage trade-in offer, which lets your trade in your existing Unity or LANshare seats for discounts on ISIS units, will be pleased to hear that the deadline has been extended.

Avid ISIS 5000

You now have until March 15th 2013 to hand over your old shared storage and receive a shiny new Avid ISIS 5000 in return, complete with FlexDrive resource management, support for simultaneous access to shared files and compatibility with Adobe’s Premiere Pro and Apple’s Final Cut Pro in case any of your artists need to retain their non-Avid workstations.

However, if you’ve decided to leave FCP for Media Composer, you’ll be pleased to hear that anyone who’s crossgraded ten or more seats can now get themselves an ISIS 5000-32TB Primary engine with a year of ExpertPlus support and hardware support from Avid for just £35,900 ex VAT. Alternatively you can get an ISIS 5000-32TB Primary Engine with a year of Elite support for £36,900 ex VAT if you’re prone to breaking things and would prefer to have more comprehensive cover.

Not ready for shared storage? 

Get Avid Symphony and Mojo DX for £3999 ex VAT

Get Avid Symphony and Nitris DX for £5799 ex VAT

You can also pick up a great deal on individual seats of Symphony. Pick up Symphony 6.5 with a Mojo DX for just £3999 ex VAT (that’s 40% off!) or with a Nitris DX for just £5799 ex VAT (also 40% less than usual). That means you get all the functionality of Media Composer, plus secondary colour correction tools, the Boris Continuum Complete plug-in collection, universal mastering tools and your choice of reliable I/O device, all without making your accountant weep. Who says no to that?

Want to know more about Avid Symphony or the ISIS 5000? Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @Jigsaw24Video on Twitter or ‘Like’ us on Facebook