Adobe Premiere Pro CC 2015

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To reinforce the value of the Creative Cloud subscription, Adobe continues to improve its core video and design products, but is also expanding the implementation of mobile-to-desktop and cloud workflows. The Creative Cloud 2015 video products were previewed at NAB and released this summer.

Mobile-to-desktop

Incorporation of mobile products into the production pipeline has become an important theme for Adobe. For Premiere Pro CC users, this primarily involves two products: Premiere Clip and Adobe Hue CC. Premiere Clip is a lightweight video editor for smartphones. Shoot your video on your phone and start cutting. Now Premiere Pro allows you to import Premiere Clip projects so you can continue cutting there. Media assets and projects can be moved among systems via Creative Cloud Libraries, powered by Adobe CreativeSync. With a Creative Cloud subscription you can access your own library, as well as shared libraries created by other users.

df3015_AdobeHueCC_editAdobe Hue CC supports the new color workflow within Premiere Pro CC. This smartphone application was previewed at NAB under the code name “Project Candy”. It will analyze the color tonality of any photo in 3D color space on your smartphone and turn that into a 3D LUT (color look-up table). Adobe Hue CC displays this analysis in the form of floating color bubbles over the image. You can rotate the cloud of bubbles on your smartphone screen to change the relative values of the selected colors. When you’re happy with the choice, this is saved as a 3D LUT to your Creative Cloud Library. Back on your laptop or desktop in Premiere Pro CC, access this LUT through the Creative Cloud Library and apply it as a “look” using Adobe’s new color controls.

New color workflow

The most visible addition to Premiere Pro CC 2015 is the new Lumetri Color panel. If you are familiar with Adobe Lightroom or SpeedGrade CC, then you’ll instantly recognize the similarities. It combines several color grading functions into a single, multi-tabbed interface panel. These controls are accessible through either the standard Effect Control panel or the separate Lumetri Color panel. The best part is that you can keyframe all of the functions. With either control panel you get a set of task-specific color wheels and curves. When the color workspace is activated, the display automatically docks the Lumetri Color panel, along with a new set of high-resolution, real-time videoscopes brought over from SpeedGrade.

df3015_Premiere_LumetriPanel_CurvesHueSaturationThere are two points within Lumetri Color to introduce LUTs. For example, in the Basic Correction tab’s pulldown menu, you can add a log-to-rec709 color transform LUT. Then in the Creative tab’s pulldown, add a stylized look. Premiere Pro CC comes with a number color transform and custom look files created by Adobe and LookLabs (SpeedLooks). Some of these, like the SpeedLooks options, work in two steps for the best results. For instance, if you were applying the SpeedLooks Blue Ice creative LUT to an ARRI Alexa log-C file, you would also need to use the SpeedLooks profile for ARRI cameras. Both generic .cube and Adobe’s .look formats work, so if you’ve purchased other LUT collections, like Osiris, Rocket Rooster, SpeedLooks, Koji, or others, then these will work with Premiere Pro CC. I created a set of SpeedGrade Look files last May and these can be easily accessed and applied inside Premiere Pro from the new Lumetri Color panel.

Editorial enhancements

There are a number of improvements that editors will appreciate. Workspace selections are now grouped across the top of the viewers. They are still available as pulldowns, but by having them grouped across the top, it’s easy to change between layouts that have been organized for editing, color, effects, audio, etc. These presets can be customized according to your needs.

One new marquee effect is Morph Cut, which is intended to make jump cuts in interviews appear seamless. This transition is similar to the FluidMorph effect available in Avid Media Composer. Editors cutting talking-head corporate videos and documentaries are frequently challenged to assemble cogent soundbites from sentence fragments – the so-called “frankenbite”. The inevitable jump cuts in the interviewee’s video are either left to jump or are covered with B-roll cutaway shots. When you apply a Morph Cut transition, Adobe’s warp stabilizer technology is used to analyze the video and create new in-between frames for a seamless transition across the cut.

In actual practice Morph Cut isn’t a panacea for all situations. If the frame size and position matches, the person is largely in the exact same spot, and they paused mid-sentence at the cut, then Morph Cut works quite well. However, if the camera has reframed, the person has their head turned at either the out or in-point of the cut but not the other, or they are still quickly talking through the cut, then the result isn’t very pleasing. Morph Cut requires analysis before being applied, which can proceed in the background.

A few of the less obvious improvements include trimming and timeline scrolling. These came with prior versions, but are still worth noting. You can now loop the trim window and make trim adjustments, which are dynamically updated. You can also JKL-play the middle of the cut or either side of the cut in the trim window to make a direct “double-roller” or “single-roller” trim. The point at which you stop the playback is the point to which the cut is then updated. The timeline will scroll smoothly or page as you play, depending on your preference. Auto-selection of clips is new with Creative Cloud 2015. As you move through the timeline, the playhead auto-selects the clips that it is parked over, based on the enabled target tracks. This is a handy feature, but it’s always on, unless you deselect the target tracks containing your video clips.

Interoperability

df3015_AfterEffects_FaceTracker_DetailedTrackingAdobe’s strength has always been its interoperability among the applications. Dynamic and/or Direct Links to Adobe After Effects CC, Adobe Audition CC, Adobe Media Encoder CC, and SpeedGrade CC make it easy to use Premiere Pro CC as the central hub in your workflow. After Effects got a huge update with CC 2015. I won’t go into depth, since this is mainly a Premiere Pro review, however, for editors the most important thing is the performance bump. Playback in After Effects is now as easy as a spacebar tap. This will be in near real-time after caching, complete with audio. You can make dynamic changes without stopping playback. As you loop the playback, these changes are quickly re-cached. The bottom line for editors is that After Effects now finally becomes a more interactive tool that fits with the temperament and workflow of most editors.

It’s not new with this version, but another workflow improvement is Premiere Pro’s Render and Replace command. When you send a set of clips from Premiere Pro to After Effects using Dynamic Link, those clips are replaced with an After Effects composition on the timeline. Until rendered, the After Effects composition is always “live” and negatively affects Premiere Pro’s performance. If you have a lot of compositions in the timeline, it can become bogged down. With Render and Replace, the “live” composition is replaced with rendered, “flattened” media. You are no longer having to access dynamic After Effects compositions, thus returning real-time playback to normal. Thanks to Adobe’s linking, you can still choose to edit that rendered file, which automatically sends you back to the original After Effects composition.

Interoperability between Premiere Pro CC and SpeedGrade CC has changed. Adobe had previously added Direct Link, which sends the Premiere Pro timeline to SpeedGrade. In the CC 2014 versions, color corrections applied in SpeedGrade show up as a Lumetri effect applied to the clip or adjustment layer when you send it back to Premiere Pro. The addition of the Lumetri Color panel in CC 2015 creates Lumetri Color effects in the Premiere Pro timeline, but these are not editable inside of SpeedGrade. The same is true going back to Premiere Pro.

The performance of SpeedGrade CC 2015 varies on my two Macs. It’s very sluggish when using the Direct Link path on the 2009 Mac Pro with a Sapphire 7950 graphics card. But when I run it on my Retina MacBook Pro with the built-in NVIDIA card, it’s an entirely different story. I don’t know if that’s an AMD versus NVIDIA issue, but whatever the reason, newer software runs best on newer hardware configurations. Yet, Premiere Pro seems about the same.

During the testing period, when I had installed CC 2015 preview versions alongside CC 2014 applications, SpeedGrade was extremely unstable on both Macs. Fortunately, now that the release versions are out, I’m glad that Adobe fixed these problems. It’s noteworthy that the CC 2015 update replaces all previous versions, so maybe they found that running multiple versions caused problems. It now works likes it’s supposed to. Nevertheless, with the Lumetri Color panel covering 90% of what nearly any editor would want, there seems less justification to use the SpeedGrade roundtrip, when you can get nearly everything done right inside Premiere Pro.

Other

df3015_CA_big_tracking_but_no_timelineSince After Effects is integral for many editors, a few more features are worth noting. New in CC 2015 is a Face Tracker. This is a simple mask based on identifying points on the face, like eyes, pupils, mouth and nose. The Face Tracker will follow the shot’s or person’s movement. It will even track exaggerated mouth movements without frame-by-frame adjustments. This is a very useful tool for locking an object to head movement or facial blurs to protect identity.

The Face Tracker ties into a new Adobe application – Adobe Character Animator. As the name implies, this is an application that enables you to create 2D character animation. Facial tracking technology can be used to animate the characters according to prerecorded tracking data, as well as to live, real-time tracking. For example, a webcam could be used to animate the characters live, complete with lip-sync. Animation passes can be recorded and edited for a complete production featuring multiple interactive characters.

This release has a number of large and small upgrades that will make editors and compositors quite happy. I like the direction Adobe has taken. It just reiterates that the designers are working hard to integrate user input and build upon the professional momentum that Adobe has earned to date.

Originally written for Digital Video magazine / CreativePlanetNetwork.

©2015 Oliver Peters