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Finally, he will move into Adobe Premiere Pro to discuss how to get perfect skin tones, a balanced image, and excellent saturation. He will be diving into the color layout section of the software exploring video scopes, parades, the temperature and tint sliders, waveforms, contrast and color wheels. But enough introduction, here’s how you enable GPU Acceleration for your CUDA graphics card in Premiere on Windows 7 64-bit. Make sure Premiere is closed and open up a command prompt by going to start type in cmd and press ENTER. This should open a command prompt window. With the 2019 update to Adobe Premiere Pro CC, Adobe has included many improvements to the usability of the program. These improvements help make the software more intuitive and easier to use. In this video, Richard Harrington walks you through the improvements made to color management in Premiere Pro.
We’ve been busy working on a host of new features in CC2019 as part of our customer feedback. Please keep the feature requests coming . If you are new to submitting request you can find the Provide Feedback link under the Help menu in Premiere Pro and most Adobe apps.
Click on the image below to fill out feedback and feature request.
NEW Display Color Management
One thing that’s been missing from Premiere Pro for a long time is Display Color Management. See the above screenshot showing that Premiere Pro Program Monitor and the After Effects Composition now match in CC2019.
With new Display Color Management turned on you can leave your OS colors settings set to the system default and your colors will be presented correctly on-screen while working in Premiere Pro. Color information of your source files is not modified and will export correctly.
Display Color Management works for any internal monitor and for any secondary computer monitor used as part of the OS desktop, including HDMI, Display Port, DVI, and Thunderbolt connected displays.
Display Color Management does not support external monitors connected through video I/O cards using Mercury Transmit. These need to be configured outside of Premiere Pro.
Enable Display Color Management by opening Preferences > General > and check “Enable Display Color Management.” The preference is off by default since not all systems have sufficient GPU horsepower to use the feature.
** Note** we are just at the beginning of where we want to take Color Management and this just a first step. Stay tuned for future updates on this critical workflow topic.
NEW Selective Color Grading
We’ve been working on a new advanced Curves interface to help take the guess work out of working with Curves with Hue, Sat and Luma settings. Trust me, it’s pretty easy to see where you are pulling or pushing the color .
Selective Color Grading provides five new curve adjustment tools. The first one, Hue vs Saturation, replaces the radial “donut” and presents the same controls as a horizontal curve line.
Use the eyedropper to select a color range in your image, or manually add adjustment points as needed to manipulate the curve. A scroll bar at the bottom of the window make it easy to work on any part of the line (essentially, dialing around the color wheel.)
Hue vs Saturation
Select a Hue range and adjust the saturation level. As you drag your selection up or down, a vertical line appears and displays the saturation levels available – giving you visual guidance as you adjust.
Hue vs Hue
Select a Hue range and change it to another hue – essentially you are modifying a color range, to make it stand out more (or less) or to distinguish it from other color ranges in the image. Again, the vertical adjustment line provides a visual guide as you make the adjustment.
Hue vs Luma
Select a Hue (color) range and adjust the Luma (light). You could use this, for example, to darken a pale blue sky and add more contrast or drama to a shot
Luma vs Sat
Select a Luma range and adjust the saturation, for example to roll off the saturation in the highlight of a sunset and minimize clipping in the center of the sun which is over-exposed
Sat vs Sat
This allows you to selectively adjust saturation for a specific saturation range. For example: to ensure broadcast legal saturation levels.
NEW Support for Data Driven Graphics from AE
In After Effects CC2018 we added new support for Data Driven Graphics which allows you to use CSV and TSV files from programs like Microsoft Excel when creating Motion Graphics Templates (mogrts) . After Effects can use the data to control keyframes to control the animation, color via Hex Values, and more. New in Premiere Pro is the ability to use those After Effects Motion Graphics Templates . You can have enter data manually or you can link the data to spreadsheet and whenever the spreadsheet is updated, the template will auto update. Again, it’s a game changer for both AE and Premiere Pro users.
NEW Audio Filters for Essential Sound Panel
Our Audition team has been busy listening to feedback from customers using the Essential Sound Panel in Premiere Pro and Audition. The 2 most popular request were to improve the Reduce Noise and Reduce Reverb results when using the sliders. Both of have been updated to use new filters for better results.
We are continuing to support our fast growing VR community with new support for VR 180 cameras and workflow. Premiere Pro can now automatically recognize many of the new 180 cameras now on the market. We have also updated our effects to take advantage of the new format. VR 180 is quickly becoming the new Stereo 3D but without the glasses.
Enginering Notes:
New Feature Recap & Bug Fixes …
New Features in Premiere Pro 13.0
Bug Fixes in Premiere Pro 13.0
Performance
Stability
Formats
Workspaces and Panels
Editing
Captions
Audio
Export and Render
Working with bins
Bins have the same icon as a folder on your hard drive and work in almost exactly the same way. They allow you to store your clips in a more organized way, by dividing them into different groups.
Just like folders on your hard drive, you can have multiple bins inside other bins, creating a folder structure as comprehensive as your project requires.
There’s one very important difference between bins and folders on your hard drive: Bins exist only inside your Adobe Premiere Pro project file. You won’t see individual project bins anywhere on your hard drive.
Creating bins
Let’s create a bin.
Managing media in bins
Now that we have some bins, let’s put them to use. As you move clips into bins, use the disclosure triangles to hide their contents and tidy up the view.
Changing bin views
Though there is a distinction between the Project panel and bins, they have the same controls and viewing options. For all intents and purposes, you can treat the Project panel as a bin.
Bins have two views. You choose between them by clicking the List View or Icon View button at the bottom left of the Project panel.
The Project panel has a Zoom control, which changes the size of the clip icons or thumbnails.
Assigning labels
Every item in the Project panel has a label color. In List view, the Label heading shows the label color for every clip. When you add your clips to a sequence, they will appear in the Timeline panel with this color.
Let’s change the color for the title so that it matches the other clips in this bin.
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Changing names
Because clips in your project are separate from the media files they link to, you can rename items inside Adobe Premiere Pro, and the names of your original media files on the hard drive are left untouched. This makes renaming clips safe to do!
Customizing bins
Adobe Premiere Pro displays certain types of information in the Project panel by default. You can easily add or remove headings. Depending on the clips you have and the types of metadata you are working with, you might want to display or hide different kinds of information.
You’ll notice that Media Type is now added as a heading for the Theft Unexpected bin but not for any other bins. To make this kind of change to every bin in one step, use the panel menu on the Project panel, rather than on an individual bin.
Some of the headings are for information only, while others can be edited directly. The Scene heading, for example, allows you to add a scene number for each clip.
Notice that if you enter a number for a scene and then press the Enter key, Adobe Premiere Pro activates the next scene box. This way, you can use the keyboard to quickly enter information about each clip, jumping from one box to the next.
The Scene heading is a special one. It gives you information about what the scene clips are intended for; it also gives Adobe Premiere Pro information about which scene from an original script should be used for automatic analysis of the audio (see “Organizing media with content analysis” later in this lesson).
Having multiple bins open at once
When you double-click a bin, by default Adobe Premiere Pro opens the bin in a floating panel. Every bin panel behaves in the same way, with the same options, buttons, and settings.
If you have room on your computer monitor, you can have as many bins open as you like.
Enable Display Color Management Premiere Pro Download
Bins are like any other kind of panel in that you can drag them to any part of the interface, resize them, combine them with other panels, and toggle them between full-screen and frame display using the ` (grave) key.
Bins open in their own panel when you double-click them because of the default preferences, which you can change to suit your editing style.
Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS) to change the options.
Enable Display Color Management Premiere Problems
Each of the options lets you choose what will happen when you double-click, double-click with the Control (Windows) or Command (Mac OS) key, or double-click with the Alt (Windows) or Option (Mac OS) key.
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