![\"Adobe](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/Premiere.jpg?resize=600%2C338&ssl=1\")
Adobe Premiere Pro has more powerful colour workflows with the addition of the Lumetri Deep Colour Engine, to easily and directly apply rich colour grading looks<\/p><\/div>\n
There’s a new\u00a0Live 3D Pipeline for After Effects in conjunction with Maxon, which will see Cinema 4D Lite bundled with the Adobe application. “55 percent of our After Effects users working with 3D were using Cinema 4D\u00a0 – without there being any prescribed workflow to go back and forward between the platforms,\u201d said Stevens. \u201cIt was just an absolute nightmare of data wrangling using third party tools. It\u2019s now completely integrated. You can create live 3D rigs and tie them to a comp in After Effects using the 3D Camera Tracker, having the objects marry up together. It\u2019s going to save many hours\u201d<\/p>\n
In addition, a Refine Edge tool enables faster, superior rotoscoping results and the Warp Stabiliser VFX feature allows users to stabilise a specific portion of a shot. Stevens demonstrated the latter with stabilised footage showing an object in the foreground of a framed shot effectively staying still as the background moved.<\/p>\n
![\"Live](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/Cinema-4D-Lite.jpg?resize=600%2C338&ssl=1\")
After Effects allows motion graphics and visual effects artists to work easily in 3D with the new Live 3D Pipeline with Maxon Cinema4D integration.<\/p><\/div>\n
The next version of finishing tool SpeedGrade sports an improved user interface, designed for a smaller screen and to give users faster access to regularly used tools. The new one-click Shot Matcher feature matches clips from different cameras with varying lighting conditions.\u00a0Colourists can also work in conjunction with Photoshop users to create SpeedGrade looks using still images saved in the DPX and Targa format, with adjustment layers baked in.<\/p>\n
![\"The](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/SpeedGrade.jpg?resize=600%2C338&ssl=1\")
The newly redesigned Adobe SpeedGrade, offering precise control over every aspect of a project\u2019s colour and light<\/p><\/div>\n
The second version of Adobe\u2019s file-based logging and ingest tool Adobe Prelude \u00a0is now a 64-bit application and\u00a0has seen a lot of refinement. It now highlights clips selected for ingest and has a new ability to hover-scrub thumbnails in the project panel to quickly see imported footage \u2013 both top customer-requested features, according to Stevens. Full native support for DNxHD is another big deal. \u201cMany people ask us about mezzanine formats,\u201d acknowledged Stevens. \u201cWe were very much of the view that the market doesn\u2019t need any more. We now play very nicely in environments where there are Avid and Final Cut machines as well.\u201d<\/p>\n
Prelude is also able to add metadata during ingest and can batch rename while ingesting files. In addition Prelude can ingest unassociated metadata- for example using remote Tablet-based logging to create rough cuts or a Bin Structure, which can form the basis of a new project on ingest.<\/p>\n
Editing is also faster with new Adobe Story panels giving Prelude and Premiere Pro users access to Story scripts, as well as the ability to match the script to clips and using Speech to Text analysis.<\/p>\n
![\"Prelude\"](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/Prelude.jpg?resize=600%2C338&ssl=1\")
Prelude can add metadata during ingest, and editing is faster with new Adobe Story panels<\/p><\/div>\n
Also now available as a 64-bit application is sound utility Audition.\u00a0New creative tools include Sound Remover which builds on the Noise Remover tool from iZotope. It allows users to paint across patterns of noise interference in the Spectral View. \u201cThere\u2019s a sound learner that identifies the signature of that noise,\u201d explained Stevens. \u201cIt learns it and is able to sample it and pull it out.\u201d<\/p>\n
The Pitch Bending tool in Audition offers a range of impressive presets, such as ‘turntable losing power’ and has the ability to match clip duration.\u00a0There\u2019s also a Preview Editor to help improve overall sound quality, a silence selection utility\u00a0and the new loudness compliance tool from TC Electronic, LoudnessRadar.<\/p>\n
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![\"New](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/Audition.jpg?resize=600%2C338&ssl=1\")
New creative tools in Adobe Audition include Sound Remover and Preview Editor to help improve overall sound quality.<\/p><\/div>\n
Adobe will demonstrate its new solutions during the NAB 2013 Show<\/a> at its booth SL3910 in the Las Vegas Convention Centre and will\u00a0reveal more information about its creative tools at Adobe MAX<\/a>, running from May 4-8 in Los Angeles.<\/p>\n The company also announced it is offering a special offer aimed at video professionals to join Adobe Creative Cloud for \u00a327.34 (incl VAT) a month for their first year, which is 40 percent off the regular price of an annual membership. Although the new features being previewed at NAB are not yet publicly available, one of the major benefits of Adobe Creative Cloud membership is that members get access to the latest upgrades and features as soon as they are released for no additional cost. This offer is valid through April 19, 2013.<\/p>\n Neils Stevens said Adobe had to date worked with up to 50 \u00a0partners, including the likes of Chyron and Vizrt, to provide custom panels within their products to interface with Adobe tools.\u00a0More details of collaborative workflows with broadcast video partners will also be revealed at NAB.<\/p>\n The NAB Show will also see the official launch of Adobe Anywhere<\/a>, the collaborative workflow platform that allows users of Adobe video tools to work together, using centralised media, across any local or remote networks. \u00a0At the heart of the system is the Collaboration Hub which allows remote users of Premiere Pro, After Effects and Prelude to work together using centralised media and assets across any network worldwide. The power is provided by the Mercury Streaming Engine, an adapted version of the Mercury Playback technology in Premiere Pro, that allows the connected users to simultaneously access and work directly with media stored on the central server, rather than proxies.<\/p>\n \u201cWe essentially built a blade server with a headless version of Premiere, which runs in video hardware with CUDA-based optimisation,\u201d said Stevens. \u201cIf your picture playback is only on quarter of the screen, Anywhere will cut down the bandwidth by three quarters and just send you that stream. If you park on a still frame, it\u2019s going to send you a lossless pixel-by-pixel version of that image. This is something that nobody else does. If you\u2019re on a proxy workflow, you might be looking at a 10 or 20:1 compressed video version of what you\u2019re working on, so if you want to zoom in and check focus, paint or do some fine tuning with pixels, you\u2019re kind of stuck when you\u2019re working with a ultra-low bandwidth version. The Mercury Streaming Engine just knows to send a lossless representation of the still image. If you start frame-bumping some footage, it makes an intelligent decision and sends you some frames for either side.\u00a0 If you decide to go to full screen playback, Anywhere recognises this and will flood the channel, using all available bandwidth up to a maximum of the original source media to be able to do that for you.\u201d<\/p>\n Stevens also claimed Adobe Anywhere can let users such as freelance editors work virtually from any location where there is standard network connectivity. \u201cIt is able to co-exist with office network traffic, and give you a decent playback experience even on a busy noisy LAN,\u201d he added.<\/p>\n Adobe Anywhere is able to operate on existing hardware and network infrastructure, including existing media asset management (MAM) and custom workflow systems. First revealed at IBC 2012 in Amsterdam<\/a>, the platform is expected to be available for sale through systems integrators in May 2013.<\/p>\n Visit Adobe\u00a0<\/a><\/p>\n![\"Adobe](\"https:\/\/i0.wp.com\/firedbydesign.com\/fbdimg\/2013\/04\/adobe.jpg?resize=100%2C100&ssl=1\")
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