Description image

Adobe Releases Premiere Pro CC 7.1 with Easier SpeedGrade Workflow & Native CinemaDNG Support

Premiere Pro CC 7.1 UpdateAlthough many people still aren’t thrilled with the subscription model of Adobe’s Creative Cloud, it’s difficult not to be happy with the regularity with which they are now able to roll out major updates to the software. Last month, Adobe released a comprehensive list of new features that would be added in the 7.1 update of Premiere Pro CC, new features like native support for CinemaDNG and RED DRAGON footage, and a legitimate roundtrip process between Premiere and SpeedGrade. This evening, Adobe released the update, and it is available and ready for download. Before you start playing with the upgraded software, however, check out’s awesome video overview of these new features:

Here’s the comprehensive list of new features in Premiere Pro CC from

There are some tremendous new features in this updated version of Premiere. Perhaps the biggest and most timely of these features is the native support for CinemaDNG files. With a slew of cameras from the likes of Blackmagic and Digital Bolex, and with Magic Lantern RAW (plus Ikonoskop is still alive), CinemaDNG has become a fairly prolific production format. That’s a trend that doesn’t look to slow down anytime soon, so it will be important for software developers to continue to find ways to support CinemaDNG natively.

Of course, editing natively with CinemaDNG files might not be the easiest option for your computer, so it still might be beneficial to adopt an offline/online workflow when dealing with these RAW files. Still, in situations where the full offline/online workflow might not be practical, it’s extremely nice to know that you can pull your CinemaDNG’s directly into Premiere and start editing.

The other massive feature that is now available in Premiere is one that we have been asking for since the day that CS6 was released: a legitimate dynamic link workflow between Premiere and SpeedGrade. In past versions, the “Send to SpeedGrade” option in Premiere would generate a beastly DPX image sequence from your timeline and send it to SpeedGrade, at which point you would have to export that media from SpeedGrade and re-import it back into Premiere to complete the roundtrip. That workflow literally had no benefits over exporting and EDL and then grading in Resolve, which many people did.

With the 7.1 update, however, Adobe has finally introduced a legitimate “Direct Link” between Premiere and SpeedGrade, much in the same way that Premiere is able to link back and forth with After Effects and Audition. With this link in place, Adobe is incentivizing that people actually use SpeedGrade over Resolve or Baselight for their high-end color work, since the direct linking can potentially shave time off of the existing processes. Whether or not more people begin incorporating SpeedGrade into their workflows, however, remains to be seen.

Beyond these major features, Adobe has also added native support for RED DRAGON footage, as well as a multitude of minor improvements that should serve to make the editing process quicker and more intuitive. The 7.1 update to Premiere Pro CC is now available for download through the Creative Cloud application.

What do you guys think of these new features, and what features would you like to see in future updates? Do Adobe’s semi-frequent major updates leave you more impressed with the Creative Cloud? Let us know in the comments!

Link: New Features in the Premiere Pro 7.1 Update — reTooled

[via ProVideoCoalition]


We’re all here for the same reason: to better ourselves as writers, directors, cinematographers, producers, photographers... whatever our creative pursuit. Criticism is valuable as long as it is constructive, but personal attacks are grounds for deletion; you don't have to agree with us to learn something. We’re all here to help each other, so thank you for adding to the conversation!

Description image 73 COMMENTS

  • Love it all.
    Also, I realize that the CC model gets a lot of negative comments on here, but as both a personal and business user it really works for me.

    • I’m still on CS6, I will be upgrading in the new year to CC – But I have had many issues with the round trip from Premiere to Resolve and back – After much trial and error and delving through forums, I have found it best to use FCP7 as an intermediary, which works without issue… The problem is, it’s a very clunky workflow – I was wondering if Adobe have made any improvement with their XML’s? I love using resolve, but it is a headache worrying about so many workarounds…

      • Premiere CC helps in a few areas. First, you can export XML of a single sequence instead of the whole project. Second, you are able to flatten nested sequences so that they appear as normal clips. With those two features, and minimizing the number of video tracks, roundtripping to Resolve has been much smoother.

  • I’ve been using this all day on a music video project I’m finishing up, and I absolutely fn’ love it!!!! This is the way Speedgrade should have worked from the start. There are a few tiny hangups here and there (for instance, I’ve had issues with keyframed masks and secondary keys), but overall, it’s been really great to use and a huge improvement over the initial CC release.

    With direct link working, it seems like the next logical step would be full dynamic link integration. It’s not a huge hassle to have to save and open the file when switching from Speedgrade to Premiere and back, but it would be a welcome improvement.

    I’m still a big fan of DaVinci Resolve, but getting it to play nice with XMLs from Premiere is next to impossible. As long as Speedgrade keeps getting regular updates and improvements, I’ll consider myself a fan.

  • The update doesn’t work as advertised. Yes Premiere imports DNG files but it seems to dumb the file to 8 bit. So you do not get any of the benefits of shooting in RAW when color grading. Yes you can direct link to Speedgrade from Premiere but most of the Speedgrade tools are greyed out. That the only reason I was excited for the update.

    • Premiere has been 32 bit floating since CS6 at least. The majority of tools are greyed out in PPro because you are supposed to go back into your dedicated color grading application, make your further adjustments, and back into Premiere with instant feedback from changes in SpeedGrade. If you want to keep coloring in PPro, it’s still completely a valid option as that was not what this feature was intended for. Direct Link was intended to make professional level color grading quicker and more responsive w/o additional renders to get back to the NLE for finishing.

      • I’ve tried color grading the CinemaDNG in Speedgrade same problem…also did I mention that the CinemaDNG is pink within Premiere…

        • The color of a clip is irrelevant, that’s a purely cosmetic thing that you can choose. What makes you say that the CinemaDNG clips are being treated as 8-bit?

        • Same problem here with DNG coming from Canon 50D raw video and convert with RawMagic, if anybody has a solution … ?

  • only idiots give credit card numbers to Adobe.

  • This article uses the Adobe term “Dynamic Linking” incorrectly at the end. It’s actually “Direct Linking” and quite different from Dynamic Linking, the latter of which is only a file-update, cross-application trigger rather than the fully integrated Direct Linking that was just launched today.

  • trackofalljades on 11.1.13 @ 1:47AM

    It’s too bad DNG couldn’t have made it into the last upgrade to CS6 before they went all cloudy…I’ll never purchase from Adobe ever again on general principle, but that would have been a really cool way to cap off the old product.

  • Hi Joe.
    There release was scheduled for Oct end but doesn’t show up on creative App updates on my computer.
    Does anyone actually downloaded and working with the update?



  • Chip Murphy on 11.1.13 @ 4:14AM

    The CinemaDNG support is pretty weak. If you keep the BMCC folder structure, you have to import each clip individually. Pretty useless. I’ll be sticking with Resolve for the time being.

  • Adobe is really listening to their costumers. That´s a big deal for me. The applications improve so much, I really feel I´m on the right way with them. Not like apple who don´t really give a shit. I also think that CC is a good idea. It´s not nice to collect new features for two years to make a new product which is worth the money if you can have them right now. Friends of mine have CC and they now write bills with software rent applied to it, so it´s no problem for them.

  • I switched from fcp to cc – and do not find it as stable as fcp at all! – I edit long form docs – and use film convert. CC does not seem to like that combination.
    In my eyes CC is far from being “professional” as long as it is not reliable.

    • What specific problems are you having?

      • He’s using a mac – or he is a mac user…either way, that’s your problem right there!

        • I´m editing on mac only and to have to use windows to be able to use premiere pro would be the only reason to not use it. cc is totally stable, like cs6. fcp is a slow and old piece of software and i really can´t understand how people still use it. the hardest thing i was doing with premiere cs6 was to export 42 timeline 60 minutes each with multi camera edit inside and mice footage from avchd 1080p 25 and 1080p 50. color correction on each timeline without any pre rendering. when i came back 2 days later everything was finished without any error. show me how u do that with fcp.

          • Graham Kay on 11.1.13 @ 2:46PM

            Wow – what was this you were working on, if you don’t mind me asking?

          • I was filming all lectures of documenta13, the larges art exhibition in the world. it was 100 days of filming. on many days there were 8 hours a day shooting with 2 cameras. so 16 hours of material a day which had to be edited and uploaded to a sever within 2 days. i was alone filming and had a cutter who was editing and converting and uploading. that day i had to go to another city and i knew that 2 days later this 42 video had to be on the sever. so i even put the output path on the sever and everything was fine when i came back. since then i´m total in love with premiere. also our workflow would not have been possible with fcp. if we had to convert anything of the material we would´t have had enough time. imagine 8 hours of filming then going back to office. at least 2 hours of coping cards, then sync all clips to the external sound in multi camera sequenz, edit it, do a fast color matching, export and upload to server. there was no time for converting to prores. this is only possible with premiere pro i think. btw the workstation we used was a i7 hackintosh. this thing never let me down since then…

          • Replying to Ben above — you can work with native footage (no transcoding) and auto-sync multicam or dual-system audio with FCP X, so it’s not just Premiere that would have done the job. Sounds like a monster task, though!

          • i only tried final cut x when it came out and for me it was a joke, far from what i expected. i heard it´s better now but as i do a lot with after effects and photoshop it does´t make much sense to think about fcpx. i´m used to the dynamic link to ae and ps. fcpx is a good thing for people who do only straight forward editing, i guess. is there support for raw video in the meanwhile? that´s also essential for me. i did different stuf with the red epic in 5k and lately with the f5 and the raw module from sony.

    • I find that comment to be unbelievable or its a hardware issue.
      We edit long-form in CC all the time. Mainly on Macs too.
      Re FilmConvert, if you’re applying it to every clip prior to/during edit you’ll need a ton of RAM and very fast drives.

    • Have you tried running film convert on FCP? See how “fast” that is…

  • But can you sort footage by time taken yet!? Im still having to use CS6 because they stripped the ability to sort by time taken in CC, which is just plain ridiculous. When i have a full wedding daysworth of footage shot on 4+ cameras, i need to be able to sort it!
    Surely this is not just a documentary style issue?

    • I don’t get that I never sort anything in any other way than in a “master” timeline visually, sometimes slower but it takes no time to put all footage there and you are working with it immediately. You can group it label it use tracks to further sub divide, don’t see the point of hardly ever using the programs browsers, I ususally drag and drop from files straight to timeline unless it’s like avchd or p2 where the program (or the os?) saves a couple of levels of delving. Again the finder window will sort by date or size as per.

  • Adobe got hacked the other day and it took me probably 3 hours or work to change passwords for accounts plus they handed my long time private email address to hackers. Thus adding insult and further injury to the injury of Creative Cloud. I have to pay adobe for their stuff who pays me for three wasted hours and continuing concern over the email address being in the hands of goodness knows how many hackers.

    Having spent years learning the adobe workflow as an avid mostly amateur filmmaker I cannot justify the expense of a subscription preferring to find the money for an occasional upgrade which at least I then owned. At some point now I will have to switch to another programme and learn the new workflow.

    Surely Adobe could offer an upgrade purchase as an alternative to subscription. The upgrade would include improvements retrospectively whereas subscribers would benefit immediately which would be attractive to professionals and probably not affect their sales that much. Having allowed us all to be hacked they owe us that !!

  • Say what you will about the subscription model—but it has been undeniably cool receiving this and the previous updates NOW instead of having to wait until Spring/Summer of 2014 for an upgrade :)

    • agreed! I think the CC model is great. My only complaint is getting update notifications every second day (it seems) it’s as annoying a Java updates :\

  • Is it 7.1 or 7.01?

  • Lobbamobba on 11.1.13 @ 4:07PM

    Why not use a one time e-card for the payment, then they can steal it all day long, its still useless to them. If your bank doesnt provide such a service, switch bank.

  • Though they put out regular updates… They still seem to neglect the fundamental building blocks that make the application. I have had countless number of crashes on projects ranging from 30 mins to 1 hour and 30 mins. Including and not limited to Export problems. I know it is not the system because I can flawlessly run any other editing system or software. I am running 32 gigs of ram and several high end Nvidia GPUs. I think that Adobe has become just like every marketing happy software company pushing out “features” as apposed to fixing what is not functioning properly. -A buzz word machine- I am not going to lie… It is great having those features added, however, If the projects can’t get done because of crashing or freezing issues… what’s the point of features? I think it is an interesting time with Final Cut (classic) out of the picture soon… Avid being too expensive when bundled with their proprietary hardware… and Final Cut X is a joke… What to do… What to do…

    • Anthony Marino on 11.2.13 @ 12:04AM

      Update the drivers in your gpu’s, if you have a raid controller card up date that to the latest firmware as well. A while back I was having interface issues (not as bad as yours) but when I updated everything the last update with PP as well as this one seem to be working fine (fingers crossed).

      • If that was all it is. Adobe’s software is buggy period!

        • Anthony Marino on 11.2.13 @ 12:12PM

          Can’t disagree with you. I struggled for a bit until the last update. So far with that one and this new one, I’m not having any issues, yet…(fingers crossed).

      • All drivers are up to date. External raid is working perfectly. Sold State drives have latest firmware. =P Everything works perfect outside of premiere and always has.

        • Anthony Marino on 11.2.13 @ 10:11PM

          Just talking through my own experiences, the biggest trouble I’ve ever had with PP recently was with Avchd files. Sometimes they just didnt want to play nice with premiere or vice versa?? Eric Bowen from ADK (in Kentucky) who monitors and keeps my system in check may be able to help you. He’s remarkable when it comes to issues like you’re experiencing and they’re very reasonable, worth their weight in Gold. If its that bad for you I would reach out to him, he’s helped me with my system (now 1 years old) and please, I’m not saying premiere isn’t buggy I’m suggesting something that seems to have worked for me. I rely on my equiptment, I’m sure you do too. All the best to you.

        • Sorry to hear you’re having trouble. If you bring questions and issues to the Premiere Pro forum, we can help you there:


  • I’m in Australia and its not in my list of available updates. Anyone else not in America have the update yet???

  • WOOHOO!! Just Premiere to Speedgrade here I come :) Screw you DPX!! :D

  • If the update is not shown up automatically, you can get it from here:



  • If you intend to edit Magic Lantern Raw files in PP, you will get weird looking image. Might be supported sometimes in the futur. Here is the answer from Adobe on the creative cow forum:

  • My hope to edit Canon 1DC 4K native files are also on hold as my fairly strong macbook pro retina can’t play the files smooth or even kind of smoothly….

    Back to transcoding to ProRes first…

  • hi all … open question. i haven’t plunged into the ML raw hack yet, sort of waiting for the geniuses to get a stable release out. that’s probably not imminent, so i’m going with what’s at hand for now.

    could anyone steer me to the most up to date workflow, one that may incorporate Ppro’s new adoption of DNG files ?

    thanks …

  • As a very satisfied Adobe user, I’m thrilled to finally start using SpeedGrade directly from PPro, much the same way as I use Red Giant’s Magic Bullet Looks to grade-as-i-go. The shot-by-shot matching feature is awesome and I’m sure that Sg allows me to take my grading skills up a notch.

    However, Adobe really needs to revamp the integration between Audition and PPro. There’s neither a direct linking feature that really works, nor can you import multitrack session files (.ses). As I typically edit to the music, having the ability to change sound tracks inside Au which then update in PPro (like between PPro and Ae), is my most-wanted feature.

    That, and a rework of the Project Manager, which currently omits to include any dynamically linked Ae comps.

  • Hi Robert, great post. I just had one question –
    I’m using 5D RAW footage, and have converted it to DNG. Now, how do I get Premiere to recognize it as an image sequence?


  • Hi there, of course this article is genuinely pleasant and I have learned
    lot of things from it about blogging. thanks.

  • Because the admin of this web page is working, no doubt very quickly it will be
    famous, due to its quality contents.

  • Expert Hackers on 07.26.14 @ 3:52AM

    Expert-Hackers is an India-based team of hackers with numerous proofs. We render these services:
    <Hacking of all company website
    <Hacking of university website and Grades upgrade
    <Hacking of all social media
    <Hacking of all Bank website
    <Hacking of WordPress Blogs
    <Hacking of Security Institution and get Criminal Reords wiped out
    <Hacking of Government agency
    <Hacking of Database
    <Hackkiing of Email and Text message
    <Hacking of Paypal Account
    <Hacking Server crashed
    <Hacking of all phones and untraceable Ip and many more
    For further enquiry, contact us at