April 2, 2014

Adobe Unveils the Next Generation of Their Creative Cloud Video Tools

In 2012, Adobe unveiled the future of their software distribution strategy. Despite some initial hiccups in public perception, Creative Cloud has since taken the video post production world by storm. In addition to the monthly fee structure, Creative Cloud offered another major benefit over the Creative Suite -- the ability for Adobe to push out major software updates and new features with a previously unheard of regularity. Now that NAB (filmmaker Christmas) is finally rolling around for another year, Adobe is releasing their next round of major features for their video-centric software, and let's just say that the future is bright.

First, here's a quick slide from Adobe's presentation that gives you a quick look at all of the major new features in their video applications.

Now let's take an individual look all of the major new features in each piece of software.

Premiere Pro

Premiere might just be the most vastly updated piece of software in this release, as it includes some really kick-ass new features. Here's a brief video overview of the best new features:

Over on the Adobe press release for the new version of Premiere, Al Mooney describes in detail all of the new features in the release. Other than the major new features described in the video above, Premiere is continuously being upgraded under the hood in order to accommodate the newest emerging production formats, frame rates, resolutions, etc. Here's what Mooney had to say:

Premiere Pro’s rich support for workflows in 5K and beyond is further enhanced, with new native support for CanonRAW and Sony SStP media. Enhanced CinemaDNG support (including Blackmagic Pocket Cinema Camera, Convergent Design Odyssey7Q, and CinemaDNG source settings), and a powerful new workflow for the ARRI AMIRA camera, where appropriate LUTs are applied on ingest at the master clip level are also available. Editors working with RED media will benefit greatly from the ability to debayer on a supported GPU, providing amazing playback performance up to full-resolution real-time playback on a workstation-class system.

For me, the two most exciting new features in this release are ones that I will literally use all of the time once the features are officially released -- master clip effects and native masking and tracking. The master clip effects will be an absolute godsend for documentary editors who are using multiple pieces of a single original clip throughout a timeline. In the past, effects would have to be applied to each clip directly, which is a complete waste of time. Now, however, an effect (say color correction of some sort) can be applied to the original clip, and it will be applied to all of the varied instances of that clip in your timeline.

Beyond that, the new masking and tracking features that are now built directly into Premiere will save many, many editors from having to round trip with After Effects. Many of the most common tasks for trackers, such as creating a quick blur on someone's face or license plate, can now be done directly inside the NLE with the same simple processes found inside of After Effects.

After Effects

Here's the quick video rundown of the new features in the next release of After Effects CC

Clearly one of the biggest stories in this release is the way that Adobe has rethought the relationship between Premiere and After Effects. Not only have a few of AE features been brought into Premiere, but effects like masks created inside of Premiere now are directly transferable into the After Effects workflow.

Another pair of huge additions are the Key Cleaner and Advanced Spill Suppressor effects, which look to dramatically improve badly shot green screen footage, something which previously either required much more expensive software or reshoots to fix.

For a comprehensive list of the new features in After Effects, head on over to this excellent blog post.

SpeedGrade

In this update, SpeedGrade is continuing to become a more integrated tool in the Adobe post production process. Here's the video rundown.

Overall, the biggest addition, if you want to call it that, is a dramatically improved "Direct Link" between Premiere and SpeedGrade that allows for simple timeline adjustments such as turning tracks and adjustment layers on and off, which is more of a time saver than it sounds. Add to that a set of completely redesigned scopes alongside some usability improvements such as luminance sliders next to the color wheels, and the software is becoming a veritable color correction tool with a far more intuitive interface.

To read more about the changes that were made in the upcoming version of SpeedGrade, head on over to  this in-depth blog post.

Prelude

Unfortunately, there's no video for Prelude as of yet, but the new features can be summed up nicely by the following quote:

The new update to Adobe Prelude, the ingest and logging app, introduces a Tag Panel, an innovation that dramatically speeds up shot logging by allowing users to create color-coded tags that can be added to footage with a single click. Building rough cuts in Prelude gets a lot simpler, too, with drag-and-drop assembly, ripple trimming, and new keyboard shortcuts.

NAB5_PreludeCC

This update of Prelude essentially makes the process of tagging and adding metadata to your downloaded footage much easier with a unique visual interface (as seen above). Adobe is also incorporating more dynamic rough cutting features into Prelude such as the standard drag and drop. They're also finally allowing for basic ripple trims when creating a rough cut, which is key.

For the full rundown of what's new in Prelude, head on over to this blog post.

Audition

Here's the video rundown for Adobe's audio post production powerhouse, Audition.

The changes in Audition are largely aesthetic ones, as the team in charge of its design has begun to heavily stress color as an organizational tool within the program. That ethos is even more heavily present in this next release. These changes, despite the fact that they are aesthetic, are geared towards post production mixers who need to keep tracks upon tracks upon tracks of audio well organized.

In addition to the plethora of lovely aesthetic changes, Audition is now capable of both import and export of Dolby Digital and Dolby Digital Plus audio formats, which are the standard encodings for many delivery and broadcast systems. In many other audio post production softwares, conversion of this type requires expensive plugins or licensing, but in the next version of Audition, Dolby Digital is native.

For a full list of new features in Audition, check this blog post.

Media Encoder

Last but not least we have Adobe Media Encoder. Here's the video which highlights the new features in the program.

This one is big, folks. Adobe Media Encoder will now encode a proper DCP (Digital Cinema Package) natively, without any need for the convoluted processes of yesteryear. For indie filmmakers without the budget or know-how to produce a DCP via traditional means, this improvement is a godsend. Beyond the DCP capabilities, Media Encoder now also has the ability to encode AS-11 content packages for broadcast standard deliverables.

Be sure to check out all of the new features in Media Encoder in the blog post.

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So that about does it. Adobe is also rolling out some incredibly new functionality for collaborative video production through Adobe Anywhere, but that warrants a post of its own (coming soon). It's not clear when all of these updates will be released, but they will definitely be on display at NAB, so go check out the next versions of the Adobe applications while you're enjoying all of the exciting new toys.

What do you guys think of the new features in Adobe's line of filmmaking software? What kinds of features would you like to see in future updates? Let us know down in the comments!

Links:

Your Comment

77 Comments

"Adobe Media Encoder will now encode a proper DCP (Digital Cinema Package) natively, without any need for the convoluted processes of yesteryear."

YES YES YES ! :D

April 2, 2014 at 4:15AM, Edited September 4, 11:56AM

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jake whitehouqe

At first I didn't even know what this was, but then I did some research and this is actually a pretty massive thing. This will impact me for sure as I will be releasing my first feature film later this summer. Thanks a bunch Adobe... like $1500. :)

April 2, 2014 at 11:28AM, Edited September 4, 11:56AM

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Jonesy

Exactly - a single DCP for a screening costs more than 2 years of CC subscription! This is huge for indie filmmakers who just need a few DCP's for festivals etc.

April 2, 2014 at 2:13PM, Edited September 4, 11:56AM

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Lance Bachelder

Wow adobe these are the worst updates ……. No key features….Most of the updates you could already do now….with updates it just lil easier…..waste of an update ……laste minute nab update

April 2, 2014 at 5:19AM, Edited September 4, 11:56AM

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hipster hater

You can go back to your cave now little skinny troll :-)

April 2, 2014 at 5:23AM, Edited September 4, 11:56AM

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Alexandre

If you cant see how good this update is it says more about you than the update ;)

April 2, 2014 at 8:59AM, Edited September 4, 11:56AM

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lol, i like how some people won't realize that you're being sardonic. :D

April 2, 2014 at 2:05PM, Edited September 4, 11:56AM

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david

Masks and tracking within Premiere is pretty noteworthy if you ask me...

April 2, 2014 at 5:30AM, Edited September 4, 11:56AM

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agree 100%

April 2, 2014 at 7:57AM, Edited September 4, 11:56AM

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Indeed it is. Something I've wanted for a while now.

April 3, 2014 at 9:29AM, Edited September 4, 11:56AM

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Why is there such a big difference in price in Euro and USD....I mean....single appp 19,90$...but 24,95€.....really??? I still don't get it why is this way when there's no shipping costs etc etc...Apple may be a s**t but FCPX is the same price all around the world...

April 2, 2014 at 5:42AM, Edited September 4, 11:56AM

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jesuan

so true! how can this be explained? not just by 20% tax!
CC euro price is 24,60, but just 20 dollar, which is not even 15 euro.

adobe please tell us why, it feels very unfair.

d

June 19, 2014 at 11:19PM, Edited September 4, 11:56AM

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dee

I hope they bring back OpenCL support.

April 2, 2014 at 6:44AM, Edited September 4, 11:56AM

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Coil

This is a very nice release. It is a nice software with multiple improvement. Tracking in Premiere is vey welcome. Thank you Adobe

April 2, 2014 at 7:27AM, Edited September 4, 11:56AM

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DLD

Let's try a different name, OK?

April 2, 2014 at 12:30PM, Edited September 4, 11:56AM

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DLD

BMPCC support!

April 2, 2014 at 7:32AM, Edited September 4, 11:56AM

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Anthony Marino

Yay!

April 2, 2014 at 8:22AM, Edited September 4, 11:56AM

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Kasper

I was thinking they will try to make media encoder more efficient and,faster instead of adding new features,
its difficulty rendering at 90 to 100%... Even without a bottleneck in ur system

April 2, 2014 at 7:47AM, Edited September 4, 11:56AM

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Joraph

Fantastic slew of updates, least of which is the color coding (haven't seen it yet, but its very very welcome) in Adobe Audition. I like when software companies consider how our minds work when choosing how to improve their products.

April 2, 2014 at 8:24AM, Edited September 4, 11:56AM

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Holy shit, this is awesome! Especially the DCP encoding in AME.

April 2, 2014 at 8:46AM, Edited September 4, 11:56AM

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Dominik

Thanks for the very comprehensive post on this, Robert.

April 2, 2014 at 8:59AM, Edited September 4, 11:56AM

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Shawn

"For me, the two most exciting new features in this release are ones that I will literally use all of the time once the features are officially released — master clip effects and native masking and tracking."

Uh, what? Sony Vegas has had this feature for years, and without Premiere's clumsy interface. I don't know why people insist on overpaying for editing software that has such limited features.

Why don't you do a feature on Sony Vegas? They're announcing Vegas 13 at NAB. If you're grateful to have mater clip effects, I think you'll be blind sided by all the tools Vegas has that make editing, in my experience, so much more fun and powerful than on FCP or Premiere.

April 2, 2014 at 9:54AM, Edited September 4, 11:56AM

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Angelo

Ultimately, I think Adobe's video applications provide a far more complete workflow than the Sony Vegas Suite, especially for digital cinema and broadcast applications. Not to mention that Adobe's tools are much better integrated with one another than any of the tools in the Vegas Suite. For me, that makes this release more newsworthy than a new version of Vegas.

Also, I'm not quite sure how you can call Premiere's interface clumsy when comparing it to Vegas. Don't get me wrong, there are great features in Vegas, but its interface is stuck in the mid 90's.

April 2, 2014 at 10:33AM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

I don't work in a setting that's "ultimately" anything. I use Vegas for specific reasons-lower price, very easy to use, powerful plugins, ability to ingest and output lots of codecs and containers, and features that Adobe apparently is only now getting around to. It makes the author looks like a caricature when he's excited for features that should have been implemented years ago and that other software already has that he's overlooked.

April 2, 2014 at 10:41AM, Edited September 4, 11:56AM

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Angelo

I've been an Adobe customer for roughly 4 years, and I can definitely say that I am extremely pleased with not only the software itself (and how it's constantly improved), but how it facilitates the various workflow changes and additions that I've made over the years. It sounds like you have a good thing going with Vegas. That's awesome, and I'm glad that you have something that works for you. No need to criticize me for using my preferred software.

April 2, 2014 at 11:10AM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

There's enough room for everyone and any software. I'm not loyal to Sony and have a problems with Vegas. But you're an author and putting yourself out there as touting how Premiere has a feature that's been in Vegas for years. If you're going to put yourself out there, you're giving people enough information to criticize you for not doing research on other software. I'm perfectly happy to see if I've overlooked something or am mistaken, and the moment Adobe made a better service, in my view, than Sony, I'd switch to that.

April 2, 2014 at 11:18AM, Edited September 4, 11:56AM

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Angelo

Keep in mind that it's not my job as a writer for this site to know everything about any given editing software. I'm primarily a cinematographer, one who happens to do a little editing on the side.

April 2, 2014 at 11:31AM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

Robert wrote the article about news about Adobe products. Not news story about how Adobe products compare to Sony Vegas.

April 2, 2014 at 11:51AM, Edited September 4, 11:56AM

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Joseph

Angelo, it's an article about Adobe; who cares what Vegas has? It's beside the point. If you want an article about how great Vegas is, go write one. And when you do, you won't find me demanding to know about Adobe in an article about Vegas.

I, and probably most of us reading this article, have already bought into Adobe so we want to know about the updates to our software. I don't give a crap about what Vegas does or does not have because I've already made my choice.

Not every article about a specific thing needs to include a comparison to every other thing out there. An article that only exists to share updates to Adobe doesn't also need to talk about Vegas, FCX, Avid, iMovie, Media 100, and Steenbeck flatbeds.

April 3, 2014 at 6:07AM, Edited September 4, 11:56AM

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Damon

I used Sony Vegas for YEARS ... but ultimately I've switched over to Premiere, made the switch about 2 years ago, and I love it. You just can't beat the integration with the other Adobe Apps. I consistently have a need to use Illustrator, After Effects, Photoshop and an NLE (Premiere) and the integration between that adobe family just can't be beat.
I loved Sony Vegas, love love loved it ... but I needed more functionality than just an NLE.

April 2, 2014 at 12:08PM, Edited September 4, 11:56AM

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Logan B

"...provide a far more complete workflow than the Sony Vegas Suite, especially for digital cinema and broadcast applications..."

This is a little humorous to me, as 99.9999% of people who read this blog and will be having this argument are uploading to Youtube and Vimeo, and only DREAMING of outputting to a DCP to show in a theatrical setting.

Whatever. Dream away.

April 2, 2014 at 12:04PM, Edited September 4, 11:56AM

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The Analyst

If we didn't dream of that, then how would we ever get to that level? There's nothing wrong with producing shorts for the web. Meanwhile, read the rest of the comments to see how many others are benefitting from these improvements.

April 2, 2014 at 2:48PM, Edited September 4, 11:56AM

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Alex

My thoughts exactly, Alex :)

April 2, 2014 at 2:50PM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

These are getting me close to going CC. I'm still on CS6... The Key Cleaner and Advanced Spill Reduction would be killer.

April 2, 2014 at 10:22AM, Edited September 4, 11:56AM

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Kent

Agreed. No point in paying monthly for something I already have paid off in CS6. It is getting closer though. For me, when it does something significant that I can't do now, that's when I'll switch. Masking in Premiere would be great, but I'm still willing to go to AE if it saves me a buck!

April 2, 2014 at 12:34PM, Edited September 4, 11:56AM

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Totally agreed. It sucks that CS6 isn't going to be getting these updates but for the time being, CS6 is doing just fine as a suite for me.

April 2, 2014 at 2:04PM, Edited September 4, 11:56AM

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I used to buy each new version...

I just can't get myself to be perpetually chained in to a monthly fee... CS6 - I'm just guessing they'll try to force CC by not allowing CS6 to support a version of Windows/Mac down the road... Eh... Maybe I'm thinking too far ahead.

The AE Masks feature though... I like that.

April 2, 2014 at 2:58PM, Edited September 4, 11:56AM

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Jer

I'm not sure how tax works in other countries, but here in oz since I'm leasing the software each payment I make is a tax right off and every upgrade to cc is free. If you purchase outright then only depreciation of the product can be claimed over three years I think. It makes much more sense as a professional to lease this software and never have to pay for an upgrade ever again....its business yo and adobe know it.

April 2, 2014 at 7:50PM, Edited September 4, 11:56AM

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Phil

I can edit AE text in Premiere Pro now! THANK GOD for Adobe!

April 2, 2014 at 10:26AM, Edited September 4, 11:56AM

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David

Cinema DNG support is a plus..... ML Raw FTW!!!!!

April 2, 2014 at 10:42AM, Edited September 4, 11:56AM

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Kendrick

Finally the Scopes in Speedgrade are usable now.

April 2, 2014 at 11:00AM, Edited September 4, 11:56AM

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David

DCP encoding in AME = WIN WIN WIN.
I've been talking about 4K for years and this new Cloud will make it better than ever before.
Go Adobe! Whoop whoop!

April 2, 2014 at 11:28AM, Edited September 4, 11:56AM

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Gene

I miss better media manager tools, like the possibility to recompress. I miss batch export of clips. I miss export qt without recompress, just like the old FCP could do. I also miss a simple text, which is great for subtitling. And what i think is the worst is the way it handles the import of xmls from plural eyes and sequences from other projects, creating a lot of duplicated master clips. I think premiere would be perfect with the implementation of these features.

April 2, 2014 at 11:34AM, Edited September 4, 11:56AM

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GUI

+1 for batch exporting of individual clips... I miss this so much.

April 2, 2014 at 3:27PM, Edited September 4, 11:56AM

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Ty

The extra master clips with Pluraleyes import is messy. We changed our workflow to syncing in Plurayeyes stand alone first and then importing into new Premiere project which fixes that.

April 2, 2014 at 5:39PM, Edited September 4, 11:56AM

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Dan

"Keep in mind that it’s not my job as a writer for this site to know everything about any given editing software. I’m primarily a cinematographer, one who happens to do a little editing on the side."

Your readers deserve to know this before reading your articles, then.

April 2, 2014 at 11:42AM, Edited September 4, 11:56AM

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Angelo

Can't a dude just write a good ole fashioned news article without absurd criticism? I'm done defending myself against you, internet guy. Good day to you, sir!

April 2, 2014 at 12:05PM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

Yes, Angelo is correct, we need to know more about you before we read your articles....so where where born Robert?

April 2, 2014 at 12:27PM, Edited September 4, 11:56AM

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Anthony Marino

Well let's see... I was born in Denver, and I love long walks on the beach, and all I want is world peace. That sums it up pretty nicely, I think.

April 2, 2014 at 12:36PM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

Denver? Denver!?! No, that's no good at all. You really need to have considered the benefits of being born in Richmond, Virginia. Have you even been to Richmond? How can you just be born in Denver without seeing all the greatness of Richmond? The gall!

I think the readers of this site deserve an explanation!!
-Olaf

April 7, 2014 at 8:01PM, Edited September 4, 11:56AM

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Olaf

I don't have a dog in this fight, but By Lines or short bios describing who the contributing writers are and what their experience is would be great. It would also fill out the About page a bit more. When reading anything on the internet one should always consider the source. How many fake news stories have been spread on Facebook as real news because people miss the authors byline that says they are a humorist not a news reporter. Now granted that's an instance of people missing information that is given. And NoFilmSchool is most often a trustworthy source, but there isn't anywhere on the site that attests to the professionalism and experience of the writers. It's always good to know who's opinions you are reading. And with the proper links it would drive traffic to your personal work.

I'm totally stoked about the DCP integration and the master clip effects. Amazing.

April 2, 2014 at 1:26PM, Edited September 4, 11:56AM

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Hey Michael, you'll be stoked to hear that we're very close to re-launching No Film School with all of those features and then some. I just saw the new design for the first time last week, and it's sure to blow everyones' minds!

April 2, 2014 at 1:46PM, Edited September 4, 11:56AM

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Rob Hardy
Founder of Filmmaker Freedom
4505

Angelo, please, go play with your Sony Vegas and the other 4yr olds at the playground. Leave daddy work now..

April 2, 2014 at 12:37PM, Edited September 4, 11:56AM

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Michael

I like how the video for Adobe Audition had the worst sound :)

April 2, 2014 at 12:04PM, Edited September 4, 11:56AM

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The 99% statement is your opinion. No facts to back that up. As an "analyst" you should know that.

April 2, 2014 at 12:23PM, Edited September 4, 11:56AM

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Anthony Marino

Yes, Angelo is correct, we need to know more about you before we read your articles....so where where you born Robert?

April 2, 2014 at 12:28PM, Edited September 4, 11:56AM

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Anthony Marino

Haha Adobe just put a bunch of companies out of business with that DCP announcement (if it works)

April 2, 2014 at 12:32PM, Edited September 4, 11:56AM

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Max

So true for both... putting companies out of business, and if it works.

April 2, 2014 at 6:43PM, Edited September 4, 11:56AM

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jorge

MASKS! Cause i´m Happy!

April 2, 2014 at 12:59PM, Edited September 4, 11:56AM

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JeremySting

Switching to Adobe from Sony, Avid or Apple NLEs is a wise investment. Adobe has the means to continually improve their apps and they always do.

April 2, 2014 at 1:25PM, Edited September 4, 11:56AM

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Josh

hahahahahahahhahahhhaaahaha.

stupid arrogant apple. EVERY DAY i thank you for cutting the knees out from under FCP users, foisting that half built toy on us, and driving us to Adobe. thank you thank you thank you ...... it would never have happened (as quickly, if at all) without you.

April 2, 2014 at 1:34PM, Edited September 4, 11:56AM

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sjk

I want more details on this DCP creation in AME. That little nugget is huge news, but it's not end-all-be-all if it's not a complete DCP creation system and just does a few of the tasks other software does specifically.

April 2, 2014 at 1:37PM, Edited September 4, 11:56AM

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Rob

DCP in AME just made my life a hell of a lot easier. If only there was custom naming output options like Episode - but that's nit picky. Great work, Adobe. I'm gonna track so many mattes.

April 2, 2014 at 2:02PM, Edited September 4, 11:56AM

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alex

Please don't be buggy...please don't be buggy...please don't be buggy.

April 2, 2014 at 2:58PM, Edited September 4, 11:56AM

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SMD79

Did they take the painfully slow lag out of Speedgrade? That's an update I would pay handsomely for.

April 2, 2014 at 3:29PM, Edited September 4, 11:56AM

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Ty

I know it sounds silly, but an "improved" search bar in Premiere Pro is one of my top new fixes (albeit highly, highly overdue). Being able to search metadata in a huge project is fantastic, but so far it's been a pain because of how it brings Premiere to a hault.

April 2, 2014 at 4:22PM, Edited September 4, 11:56AM

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+1

April 7, 2014 at 9:30AM, Edited September 4, 11:56AM

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I CHEERED when I saw this on the Premiere page of improvements:
"A new Set To Frame Size command has been added, preserving the full resolution of media without rasterizing (as with Scale To Frame Size)."

I actually put in a feature request detailing that precisely a year or two ago. Feels good to get a feature you ask for. Overall, this is a very huge update that will make a lot of people happy, me included. Adobe, keep killing it.

Now to submit a request for Premiere to retain folder structure while importing lots of files, like AE does.

April 2, 2014 at 5:23PM, Edited September 4, 11:56AM

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Cannot understand why no 4K DCP.
Why only 2K?

April 2, 2014 at 6:58PM, Edited September 4, 11:56AM

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Because the only reason you would ever need a 4K DCP is for huge IMAX sized screens/full theatrical distribution. Therefore you should be using a professional house to get it made.

April 5, 2014 at 7:09AM, Edited September 4, 11:56AM

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I would love a direct link with premiere and audition

April 2, 2014 at 9:15PM, Edited September 4, 11:56AM

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Howard L Hughes

They already have some semblance of it. I've mixed several projects using the premiere/audition interactivity.

April 4, 2014 at 3:40PM, Edited September 4, 11:56AM

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Horus

Even then, a lot of imax size screens are still only 2k projection. For example, the theater near me has an "UltraScreen" which is 72 feet wide x 32 feet tall. They fill that with 2k projection and it looks excellent.

April 5, 2014 at 4:46PM, Edited September 4, 11:56AM

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Will Vincent

I would love it if Premiere could import multiple AE comps at one time, instead of individually, oh well CC 7.4 fingers crossed.

April 3, 2014 at 10:14AM, Edited September 4, 11:56AM

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David

I almost needed a diaper when I saw that they're releasing a DCP creator. I just premiered a film and up until the night before people were coming into town, I could not get a DCP that I had created to work. Somehow, through prayers, one of the last attempts to create one actually worked. That said, I am THRILLED to see someone step up to the plate, like ADOBE, which doesn't cost several hundred to a few thousand to create a functional DCP. Very exciting.

April 3, 2014 at 9:41PM, Edited September 4, 11:56AM

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With all these updates coming essentially for free for CC subscribers, maybe we will hear some compliments instead of criticism for Adobe's cloud platform.

April 7, 2014 at 10:10AM, Edited September 4, 11:56AM

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Ed Starkey

Not likely.
While nice, it is still not compelling enough for me to "rent" my software and have my files held hostage for later editing, etc if I miss a rent payment.
I think that the reason we're still seeing the extension of so many "deals" from Adobe, is that the love of the CC rental model still hasn't taken off like they thought.

I hope not, I hope enough people vote with their wallets to make adobe and other companies rethink the rental of software paradigm.

April 9, 2014 at 3:20PM, Edited September 4, 11:56AM

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CC