• Adobe Premiere Pro CC 2019

Adobe Premiere Pro CC 2019

We always embrace new Premiere Pro versions and we are happy to say that Film Impact is ready for this new version of Premiere!

Updating to Premiere Pro CC 2019

The Premiere Pro update is available online or directly from your Creative Cloud application.

Disable Auto updates: Creative Cloud now supports auto updates for the Creative Cloud apps. For the video and audio apps, Adobe does not recommend enabling this feature.

Before you update: check your system specifications. As software is always evolving, system requirements will change with them. Premiere Pro 13.0 requires Windows 10 v. 1703 (or higher) or macOS 10.12 or higher (10.13 recommended for Apple Metal graphics acceleration).

Best practices for updating

As with all software, we recommend saving and backing up current projects before updating.

You can create a parallel installation of Premiere Pro 13.0 alongside existing installations. (Strongly recommended to keep your work safe)

Locate Premiere Pro under Apps in the Creative Cloud desktop application and click on Update. Click on “Advanced Options” in the popup dialog. Ensure that “Remove old versions” is deselected.

Note: projects created or saved in Premiere Pro 13.0 aren’t backward-compatible with previous Premiere Pro versions (e.g., version 12 releases). If you work with other editors or teams, confirm they are on version 13.0 before starting projects in Premiere Pro 13.0.

What’s new?

Premiere Pro 13.0 was released on October 15, 2018. Here’s what it gives you:

Upgraded motion graphics workflows

The first thing you’ll notice with Motion Graphics templates? The whole workflow is just faster, smoother, and more polished. New authoring tools in After Effects allow creators to build Motion Graphics templates with customization parameters organized into groups, each with twirl-down menu headings so you can show and hide each section as you work. Besides decluttering your template, this gives you structured order of operations in editorial.

Existing Motion Graphics templates can be re-authored to take advantage of these organizing tools, as well as a few other new features …

New Font Controls let you change typefaces, font size, and even faux styles such as All Caps, providing greater flexibility with typography.

With Responsive Design — Time, editors can now re-time Motion Graphics templates in Premiere Pro simply, without altering protected portions of the template, such as intros and outros, or branding elements.

Data-driven infographics: Turn numbers into stories with data-driven infographics in Premiere Pro. Drag and drop spreadsheet files to Motion Graphics templates to generate visual representations of your information within your video projects. No more manual wrangling of data — updates to the spreadsheet are reflected in the infographic automatically.

Motion Graphics templates make sophisticated motion graphics available and easily customizable in Premiere Pro. Advanced MOGRTs (the name comes from the .mogrt file format) are usually created in After Effects, but you can make and save basic templates in Premiere Pro, or browse for new designs on Adobe Stock, right from the Essential Graphics panel.

New Selective Color Grading tools

More and more Premiere Pro users are choosing the Lumetri tools and making color a part of their editorial workflow. The next release offers faster Lumetri performance, making it easier to work with multiple adjustment layers.

We’re really excited about new Selective Color Grading, the first meaningful advance in curve adjustment tools since… almost forever. Where the Hue Saturation “donut” used to be in the Lumetri Color panel, you will now find five new tools, each offering paired values for precision adjustments.

The color wheel is laid flat, with a scroll bar below each of the tools. No more fiddling at the edge of the curve box. Now you can position any part of the color spectrum front and center while you work on it.

The new tools include Hue vs. Saturation (mentioned above in its donut incarnation), Hue vs. HueHue vs. LumaLuma vs. Saturation, and Saturation vs. Saturation. If this sounds complicated, it’s not: as soon as you start dragging a point on the curve, a vertical line appears showing you exactly where you are and how far you can take that adjustment.

Use Selective Color Grading to draw attention to your subject, or to tone-down distracting elements. By taking the guesswork out of curve adjustments, Selective Color Grading makes it easy to emphasize or subdue specific color ranges, create better background separation, create a stronger contrast between similar colors, and generally balance your image the way you want it.

Display Color Management

Display Color Management automatically detects rec709, P3, and rec2020 displays and applies the correct color space for viewing your media. Unless you are using a third-party calibration solution, this feature is recommended for any modern workstations, such as MacBook Pros, iMac Pros, and professional-class Windows machines with Wide Color Gamut (WCG) displays.

To turn on Display Color Management, choose Preferences > General and check “Enable Display Color Management.” This feature requires GPU acceleration.

Intelligent Audio cleanup

Capturing perfect audio every time is something that only very few can achieve. For the rest of us, there will be times when we have to fix what you’ve got as best we can. New Intelligent Audio Cleanup tools will make that a lot easier.

Use the new Reduce Reverb and the totally revamped Reduce Noise sliders in the Essential Sound panel to dial down background noise and reverb. Adaptive algorithms apply real-time adjustments based on the specific characteristics of sound clips so you can get the best possible results, almost instantly.

End-to-end workflows for VR 180

VR 180 makes the jump into immersive storytelling more manageable — and Premiere Pro can help with new support for VR 180, including optimized ingest, editorial, effects, and output in the Google VR180 format for YouTube or other platforms.

As with existing support for 360 immersive, you can work with monoscopic and stereoscopic content. View your 180 media on-screen as flat equirectangular images, mouse around rectilinear VR view (also on screen), or using VR headsets in the enhanced Adobe Immersive Environment.

New Spatial Markers let you review 180 and 360 footage more efficiently in the Adobe Immersive Environment. Place spatial markers on your media while in your headset for reference when you return to the desktop Timeline.

Theater Mode in Adobe Immersive Environment gives you a new portable reference monitor within the Adobe Immersive Environment: a virtual screening room for collaborating with your director or producer, whether for 2D or immersive content, or a combination of both.

Performance and format support

Hardware-based encoding and decoding for H264 and HEVC provide better performance and faster rendering. Improved image processing provides more responsive playback, rendering, and Lumetri Color performance.

New native format support now includes ARRI Alexa LF (large format), Sony Venice v2, and the HEIF (HEIC) capture format used by iPhone 8 and iPhone X. Improved visibility for QuickTime 32 files makes it easier to identify legacy media in your projects.

And more…

The new release also includes Timecode shortcut entry, support for the Australian Closed Captioning Standard, language support for keyboard shortcuts, and more.

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