NAB 2016 CC reveal “sneak peeks”


Premiere Pro :-

Premiere Pro – Proxy Editing :-

Premiere Pro : Lumetri Enhancements :-

After Effects :-

After Effects : Faster workflows with C4D :-

Audition :-

Audition : Export with Media Encoder :-

Character Animator :-

Adobe Media Encoder :-

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Smart Rendering in Premiere Pro CC


Smart Rendering is turned on by default in Premiere Pro CC.

It can be found in the Export Settings dialog box (screen grab below)

Image

 

Heres an excerpt from the Premiere Pro help on “Smart Rendering”  :-

When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible.In previous versions of Premiere Pro, smart rendering has been available for DV and DVCPro formats.In Premiere Pro, smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file. Smart rendering can accelerate MXF render times for long GOP MPEG2 essences, while avoiding recompression.

For DV or DVCPro formats, smart rendering automatically engages.

For XDCAM formats, check the checkbox for smart rendering in the XDCAM exporter plug-in. If you have these types of clips in your timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching preset, and the checkbox is checked in the XDCAM exporter plug-in, it engages. Premiere Pro sees effects applied and falls back to regular rendering if needed.

To disengage smart rendering, deselect the checkbox in the XDCAM exporter plug-in.
Using these formats, smart rendering creates an accelerated workflow, and less generational loss. Render times are anywhere from 4 to 12 times faster than realtime. The lower the bit rate, the faster it renders (less data per frame to copy, so it can do more at the same transfer speed).

Smart Rendering Formats updated in Premiere Pro CC

In Premiere Pro CC, the following formats are accelerated:

  • AVC-Intra in MXF (Format > MXF OP1a)
    • AVC-Intra Class50
    • AVC-Intra Class100
  • DNxHD in MXF (Format > DNxHD MXF OP1a)
  • DNxHD (QuickTime)
  • ProRes (QuickTime)
    • ProRes Proxy
    • ProRes LT
    • ProRes 422
    • ProRes 422 (HQ)
    • ProRes4444
  • Animation (QuickTime)

October update for Adobe CC apps


Creative Cloud

It’s exciting times here at Adobe. We just recently announced new features for all our video products!
In a matter of just 4 months the team has worked on new features, new codec support and enhanced some of the existing functions in the apps.

Premiere Pro CC

One feature I’ve been looking forward to is the integration between Premiere Pro and SpeedGrade!
With this release, SpeedGrade has fully implemented the Mercury Playback Engine from Premiere Pro, and a brand new workflow between the two applications is being introduced, namely Direct Link. With Direct Link, editors can save a project in Premiere Pro and then open the sequence they were working on directly in SpeedGrade, with no need to deal with interchange formats or any kind of conversion. SpeedGrade then opens the sequence in a familiar timeline that more closely matches how you work in Premiere Pro. You can access all the clip edit points, transitions, and layers, using the same track layout as Premiere Pro.

New native file format support for Cinema DNG, Sony RAW, Phantom Cine, improved MJPG from Canon 1DC, Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200 is included, and Cinema DNG can be debayered on a supported GPU for even better performance. For the highest resolution, RED Dragon 6K is also natively supported, with full RED color science built in.

Support for Proxy workflows

The new Monitor Overlays feature allows for critical information to be superimposed in both Source and Program Monitors. Designed to be flexible and customizable, editors can select which metadata is displayed and where, so important information such as clip timecode, edit point indicators and marker comments can be seen at a glance and in context.

Multicam workflows have been further enhanced, with easy control over the ordering of angles, and the ability to switch angles on and off, making working with large numbers of camera angles simple. Working with multicam source sequences is also improved, with Premiere Pro now displaying a composite view during the edit, so the multicam view matches the final output, and displays any applied scaling or effects.

Please find more info on Premiere Pro CC here :-
http://blogs.adobe.com/premierepro/2013/09/adobe-premiere-pro-cc-october-2013-release.html

AfterEffects CC

After Effects CC also gets an update this month. I love the new mask tracker and the speed enhancements to the 3D tracker.

Here are a few examples of this in the October 2013 update to After Effects CC, version 12.1:

  • 3D Camera Tracker and Warp Stabilizer VFX analysis of footage is a WHOLE LOT FASTER.  It’s now fully multi-threaded, and we’ve seen results going from a 60% speed increase to in some cases 8 times faster analysis depending on machine and footage.
  • snapping and property links: significant advancements to composition layout and layer control for complex projects
  • HiDPI content viewers for Retina display on Mac
  • new mask tracker for simple tracking of masks
  • Detail-preserving Upscale effect: This continues on the theme we started with adding Bicubic sampling in After Effects CC (12.0). We hear loud an clear from you that scaling (especially with 4K and ultraHD coming) is very important.
  • The Cineware effect now allows connection to Sketch & Toon as well as the Cinema 4D Physical renderer for customers of Cinema 4D Broadcast or Studio
  • media management enhancements with auto-opening of folders in the Project panel, as well as an early preview of the Media Browser panel, based on the Media Browser in Premiere Pro
  • new cards added to GPU list for CUDA acceleration of the ray-traced 3D renderer, as well as a preference to enable the use of untested, unsupported GPUs for this feature

Please find more details information here :-
http://blogs.adobe.com/aftereffects/2013/09/announcing-after-effects-cc-october-2013-update-v12-1.html

SpeedGrade CC

Expanded Format Support
Another advantage of Direct Link, is that you can now bring any format supported by Adobe Premiere Pro CCinto SpeedGrade CC. Adobe Premiere Pro leads the industry with native support for virtually all of the major video, image, or audio formats, including new formats like Cinema DNG, Red Epic Dragon (6K), Sony RAW (F65, F55, F5 FS700), Phantom Cine, improved MJPG performance from Canon 1DC,  Sony XAVC Long GOP, Panasonic AVC Ultra (Long GOP), 64 bit ProRes decoding (Mac OS X 10.8 or higher only), and support for exporting XAVC up to 4K and AVCi200.

Multiple Masks

Another thing that our users have been asking for is the ability to create multiple masks within a single look file. Once again: your wish is granted. With the October 2013 release of SpeedGrade CC, users can now add as many masks as they need with the layer stack of their grade and even link them, making it much faster to create, save and copy complex looks. The last point (copying those looks) will be a real time saver for many users, who previously had to copy a group of looks every time they wanted to have more than one mask.

SpeedLooks
We are also delighted to announce that we have licensed a special SpeedLooks package for the next release of SpeedGrade CC. The package includes a set of 14 camera patches so that you can adjust color spaces quickly when working with different cameras on the same project. The camera patches create a “level playing field” so that any grading or looks you apply on top of them will deliver the virtually the same result – even if they are being used on shots from different cameras. Just one more tool in your color kit to make sure your shots match and look great. SpeedLooks will also include four special creative looks that add instant vibrancy to you image.

Please find more information on the same here :-

http://blogs.adobe.com/movingcolors/

Adobe Media Encoder

  • GPU Enabled Rendering –The Mercury Playback Engine inside of Adobe Media Encoder CC is now GPU enabled.  This allows you to speed up many of your everyday operations by taking full advantage of your hardware.  Tasks such as scaling, pixel format conversions and de-interlacing will all be faster to name a few.
  • Automated Image Processing – With the addition of GPU acceleration, Adobe Media Encoder CC helps you create customized output of media including watermarks and TimeCode overlays as well as image processing, such as Lumetri Look or LUTs.  You can pick from presets that ship with Adobe Media Encoder or pick from ones you have created yourself.
  • Sync Settings – Never again waste time customizing your software every time you use a different machine.  The Sync Settings features give you the ability to upload settings files from your local computer to Creative Cloud and then download your settings from Creative Cloud to any other computer from within Adobe Media Encoder CC.
  • Format Updates – A number of importers and exporters have been re-written to deliver fast output on new and popular formats such as AVCI and XAVC.
  • Native Adobe Premiere Pro CC projects – Adobe Media Encoder CC natively imports Adobe Premiere Pro CC projects to help speed up renders and give you some options.  For example, you can choose to render a whole stack of sequences from a Premiere Pro CC project file.

Please find more information here :-

http://blogs.adobe.com/premierepro/2013/09/adobe-media-encoder-cc-october-2013-release.html

Prelude CC

  • Prelude Live Logger – This is an iPad app that is in development and allows you to log live events and on set productions as they are happening with Prelude Live Logger.  Once logged on the iPad, you would be able to send the timecode synched markers in an XMP wrapper to Prelude CC desktop via the Creative Cloud. Import and combine single or multiple XMP files with your video assets using the Prelude CC Unassociated Metadata workflow.  See it in action.
  • Export clips, subclips and rough cuts — Send clips, sub-clips, and rough cuts directly from the Prelude CC project panel to Adobe Media Encoder CC for quick and efficient export of your logged assets.
  • Export Marker List – Export printable lists of markers for quick review and reporting on logged assets in your Prelude CC project.  Export in either CSV, easy for excel, or in HTML, an easy to read format with thumbnails.  Easily allow Producers to provide editors with a simple, easy-to-read shot list and comment marker sheet.
  • Expanded XMP Support – Capture and use the richest media possible, faster.  With added support of new formats such as GoPro, continue to ingest and log your preferred footage in its native file format, enabling greater control over the creative process.
  • Still Image Support – Import Still images into Prelude CC projects to organize, use in rough cuts, and for streamlined ingest into Adobe Premiere Pro CC.

Please find more information here :-

http://blogs.adobe.com/premierepro/2013/09/adobe-prelude-cc-october-2013-release.html

Src :http://success.adobe.com/en/na/programs/events/1309_39968_ibc.html