RAW shooters rejoyce! Creative Cloud 12.1 update is now available!
Apparently The folks at the Magic Lantern project have had a profound effect on the NLE software world. With most of the Canon line of DSLR cameras now supporting RAW video as well as beyond 1080p resolutions when using the magic lantern software, Adobe has taken notice:
“Responding to rapid changes in the industry with the move to Ultra High Definition 4K formats and beyond, Premiere Pro’s outstanding native media support has been given a major boost this release…”
…We continue to strive to bring regular, feature-rich releases to Adobe Creative Cloud, and the October 2013 release is a great example of how passionate we are about bringing editors the features and workflows they need to work fast and as creatively as possible in the world of modern production.” – Adobe.
Come October, Adobe will be rolling out an update to it’s suite of post production software titles that will allow support for “Native” Cinema DNG processing in Premiere Pro among many other updates. It is sure to make the processing of Canon RAW video much easier. Up to now, there are few software add-ons that allow you to edit Canon RAW directly in Premiere, such as Ginger HDR. The only problem is that many of these plug-ins are limited and can’t use Adobe’s native debayering algorithm- perhaps the best debayering system out there right now. Not only that, but Adobe is sure to also leverage all the GPU processing power at its disposal to speed things up. It is shaping up to be one of the best updates to Premiere in a long time.
Here are some of the improvements on the upcoming update:
- 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)
- Support for exporting XAVC up to 4K and AVCi200 is included
- 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.
- If a high-powered system isn’t available, improved capabilities for relinking from proxy media back to full resolution, combined with brand new editable sequence settings
- Back button added to Media Browser
- Sequences have thumbnails that Hover Scrub in Icon view in the Project Panel
- The Add Edit command overrides track targeting, favoring instead the selected clips under the playhead
- The Edit To Tape dialog supports JKL shortcuts
- Negative speeds can be set in the Clip Speed/Duration dialog for reverse playback
- Audio channel layouts can be selected during QuickTime export
- The Clip Name effect provides three naming options (Sequence Item Name, Project Item Name, File Name)
- The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip
- Transitions can be pasted to multiple edit points
- All Effect parameters have individual reset buttons
- Support for reading captions from MXF files (SMPTE 436M ancillary data track) as well as writing captions to the MXF OP1a format
- Support for decoding and re-encoding CEA-708 captions.
- Captions in QuickTime movies can be read regardless of the video codec
- Caption files with a *.dfxp filename extension can be imported
- Camera angles in Multicam source sequences can display camera angles as track names or clip names
- New preference to allow the trim type of a previously selected point with the cursor
- Improved, GPU accelerated Direct Manipulation
- Multiple clips and sequences can be sent to Adobe Media Encoder at once
The prospect of RAW video is looking up. The update comes later in October.
Read all the details at the Adobe blog.