IMPORTANT: Apart from the features listed in this article, the Premiere Pro CC June release includes several useful features that help you be more productive when using Premiere Pro. For more information, see New features in Premiere Pro CC June 2013 (version 7.0).
Watch Al Mooney take you on a tour of the new features of this release.
The new Sync Settings feature enables users to sync their preferences, presets, and settings to the Creative Cloud.
If you use Premiere Pro on multiple machines, the Sync Settings feature makes it easy for you to keep those settings synchronized across the machines. The syncing happens via your Adobe Creative Cloud account. All the settings are uploaded to your Creative Cloud account, which can be downloaded and applied on the other machine.
For more information, see Sync settings in Premiere Pro CC.
Adobe Anywhere lets video teams effectively collaborate and access shared media across standard networks. You can you use local or remote networks to simultaneously access, stream, and work with remotely stored media. Heavy file transfers, duplicate media, and proxy files are not required.
To use Adobe Anywhere in Premiere Pro, select File > Adobe Anywhere > Sign In. Enter the required information in the Adobe Anywhere Sign In dialog box.
For more information, read about Adobe Anywhere for Video, or watch this video:
Premiere Pro now provides HiDPI support for an enhanced viewing experience with a high-resolution user interface. HiDPI displays are available on the newest monitors like Apple’s Retina Mac computers, including the new MacBook Pro models.
Other improvements to the user interface include:
Premiere Pro now has a redesigned Timeline panel that is customizable, letting you choose what to display, and lets you have immediate access to controls.
You can now work more quickly and efficiently with track controls for volume and pan, recording, and audio metering.
The track headers in the Timeline panel are now customizable, allowing you to determine which controls are displayed. Since the controls are different for the video and audio tracks, there are separate Button Editors for each track type.
Right-click a video or audio track and select Customize. Then drag-and-drop buttons as required. For example, you can select the Track Meter control and drag it into your audio track.
You can easily edit source sequences into other sequences without nesting. You can also copy effects from one clip to another with enhanced paste attributes.
You can often move, rename, or transcode files to different formats. Premiere Pro helps you locate and relink such files with the new Link Media dialog box.
When you open a project containing offline media, the Link Media dialog provides information like filename, last known path, and metadata properties. Using all this information, Premiere Pro lets you quickly locate and relink the media, bringing them back online for use in your project.
For more information, see Relinking offline media.
Premiere Pro identifies clips that are used in a timeline more than once in the same sequence by displaying duplicate frame markers. A duplicate frame marker is a colored stripe indicator that runs across the bottom of a clip for each duplicated frame.
To turn on duplicate frame markers, Click Timeline Display Settings, and select Show Duplicate Frame Markers.
Premiere Pro assigns a color automatically to each master clip that has a duplicate clip. Up to ten different colors are assigned. After ten colors are used, the tenth color is reused.
For example, say, you've used multiple cameras to shoot a sporting event. You may use different shots of the crowd all through the show. If you use the same crowd shot more than once, then duplicate frame detection alerts you to the duplicate clip by displaying a colored stripe across it.
Duplicate frame markers are not available for still images and time remapping.
Learn more about how the Duplicate Frame detector uses a color code to identify clips or frames used more than once in a project.
You can now work with closed caption text within Premiere Pro without the need for separate Closed Captioning authoring software.
You can import Closed Caption text, link it to the appropriate clips, edit the text, and adjust durations in the timeline from within Premiere Pro. When you're done, export your sequence to tape, or to Adobe Media Encoder, with embedded closed captions or as a separate Sidecar file.
For more information about working with closed captions in Premiere Pro, see Closed Captioning.
Learn more about the editing finesse enhancements that include a redesigned Timeline, intuitive track targeting, and dozens of new shortcuts.
The new Multicamera mode displays the multicamera editing interface inside the Program Monitor. You can create ready-to-edit sequence from clips shot from different angles with multiple cameras or from different takes of a particular scene.
You can use the Create Multi-Camera Source Sequence option to combine clips that have common In or Out points or overlapping timecode into a multicamera sequence. You can create a multicamera source sequence from a bin of clips. When creating a multicamera sequence, there is now an Offset Audio By control, with a range of -100 to +100 frames.
For more information, see Create multi-camera source sequence.
Premiere Pro also lets you can merge clips by using audio waveforms. You can use audio recorded from a second source to automatically sync and create multicamera and merged clips using audio waveforms.
Learn to use Premiere Pro's audio waveform auto-sync feature to automatically align and merge clips in Project panel, in the timeline, and when setting up a multicam project.
Source patching and track targeting has been redesigned for faster and more efficient editing. You can now patch sources for insert and overwrite editing, or targeting tracks for Copy/Paste, Match Frame, and other edit operations in just a single click.
You can create presets for common patching scenarios, letting you reconfigure the Timeline with a single command.
For more information, see Source patching and track targeting.
You can now edit source sequences into other sequences, keeping the original source clips and track layout intact. This feature lets you use segments of other sequences containing individual source clips, edit points, transitions, and effects, much like copy/paste.
A "Nest Source Sequence" toggle command lets you toggle between nested and unnested behavior. The "Nest Source Sequence" toggle command is available from the Timeline header's source indicators context menu.
For more information, see Edit from sequences loaded into the Source monitor.
You can now join through edits in your clips using the new Join Through Edits feature.
In the Timeline panel, select the edit points in your clip that you want to join. Then, right-click (Win) or Ctrl-click (Mac) the selected edit points and select Join Through Edits from the context menu.
Through edit indicators are displayed on extraneous edits that do not cause a break in the original frame sequence of the clip. When you use Join Through Edits for a through edit, Premiere Pro heals the cut and recreates a longer clip from the contiguous parts.
You can now snap the playhead to items when you drag it over the Timeline. When snapping is enabled, the Razor tool is selected, and the cursor snaps to any snapping target including the playhead.
To use the multi-razor tool over all tracks, press the Shift key. To ignore track items, press the Alt key (Windows) or Option (Mac OS).
Snap Playhead In Timeline When Snap Is Enabled is a new preference option that controls the behavior of the playhead when scrubbing. When you select this preference, the playhead snaps to every edit point.
This preference option is available under the General preferences category in the Preferences dialog box.
When you create a nested sequence with the Timeline's Nest command, the Nested Sequence Name dialog box appears. You can enter a name of your choice for the nested sequence.
To use the Nested Sequence command, right-click (Win) or Ctrl-click (Mac) a clip in the Timeline panel and choose Nest from the context menu.
Trim a clip to zero duration using the keyboard or mouse. For more information, see this video tutorial by Josh Weiss.
The Paste Attributes dialog box lets you easily add and move audio and visual effects across multiple clips.
After copying a clip containing effects, the dialog box lets you select which effect you want to paste into the destination clip selected in the Timeline.
If the video or audio clips have any additional user-applied effects, these effects are also available for selection. You can select a group of effects or specific effects.
For more information, see this video tutorial.
Learn more about the new Audio Clip Mixer, improved multicam editing, sync footage using audio waveforms, and more.
The Audio Mixer panel is now renamed the Audio Track Mixer. This name change helps you distinguish the Audio Track Mixer from the new Audio Clip Mixer panel.
The pop-up menu in the Audio Track mixer is redesigned to display the audio plug-ins in categorized subfolders for a faster selection.
Two new controls are available in the Timeline's customizable track header area to adjust the pan and track volume for audio tracks.
You can now assign a mono or standard track to multiple pairs of channels in a multichannel master. In the panner assignment dialog, set the stereo channel pairs you want to assign to a track.
For more information, see Multiple stereo assignments for tracks to multichannel masters.
The Audio Clip Mixer lets you monitor and adjust the volume and pan of clips in sequence when the Timeline panel is in focus. Similarly, when the Source Monitor panel is in focus, the Audio Clip Mixer lets you monitor clips in the Source Monitor.
To access the Audio Clip Mixer, choose Window > Audio Clip Mixer from the main menu.
For more information, see Monitor clip volume and pan using Clip Mixer.
Audio waveforms now appear similar to the waveforms in Adobe Audition. In addition, Audio waveforms now appear in nested sequences. You can return to standard audio waveforms in the panel menu.
You can also use a label color for your audio waveforms. In the Timeline panel, select Audio Waveforms Use Label Color.
The Audio Plug-ins manager is available to work with your audio effects. You can access the Audio Plug-In Manager menu from the Audio Track Mixer and Effects panels. You can also access the Audio Plug-In Manager from the Audio Preferences dialog.
Premiere Pro now supports third-party VST3 plug-ins. On the Mac, you can also use Audio Units (AU) plug-ins.
Premiere Pro now lets you interactively mix audio with control surfaces that use the EUCON and Mackie protocols. You can also use third-party tablet-based controllers that support these protocols.
To connect your controller to Premiere Pro, select Control Surface in the Preferences dialog box. Choose the controller protocol from the Device Class menu.
Use the faders, knobs, and buttons on these devices to control Track Mixer faders and parameters, such as track pan and balance. You can connect supported devices, such as Avid MC Artist and Mackie XT and assume control of the Track Mixer.
For more information, see Control surface support.
Premiere Pro now includes the Lumetri Deep Color Engine. You can instantly apply SpeedGrade .look files and pre-made Lookup Tables (LUTs) to your sequences from within Premiere Pro.
Use the new integrated Looks browser in the Effects panel to apply preset color grading effects, or to locate exported .looks from SpeedGrade or LUTs from other systems.
For more information, see Apply SpeedGrade color-correction within Premiere Pro.
The new Adobe Story panel in Premiere Pro lets you import scripts created in Adobe Story, along with associated metadata to guide your editing.
You can quickly navigate to specific scenes, locations, dialogue, and characters as you work. You can use Speech To Text search to find the clips you need and edit to the script within the Premiere Pro editing environment.
For more information, see Script-based video editing with Adobe Story.
Select next and previous clips in a sequence
The Select Next Clip and Select Previous Clip keyboard shortcuts let you quickly navigate relative to the current clip selection and select an adjacent clip in the sequence.
Select clips under playhead or within In-Out range
To provide two slightly different keyboard-driven workflows, there are two new keyboard shortcuts for selecting clips in the sequence: Select Clip at Playhead and Select In to Out.
Move selected clips to different tracks
Use the Nudge Clip Selection Up and Nudge Clip Selection Down keyboard shortcuts to move selected clips up or down to different tracks.
For the complete list of available keyboard shortcuts, see Keyboard shortcuts in Premiere Pro CC.
You can now enable OpenCL or CUDA processing on any card that meets minimum requirements (1-GB RAM, basic shader tests).
CUDA support for NVIDIA Kepler 2000 and 4000 Dual GPU support for NVIDIA cards for export performance enhancement are now available.
OpenCL processing is now available on Windows for cards that meet the basic requirements.
Industry-standard mezzanine codecs and native video formats, such as the following, are now available within Premiere Pro:
You now have an enhanced and improved workflow when importing or exporting Avid or Final Cut Pro projects. You can import AAF projects with much higher fidelity, and with support
for more video formats, including DNxHD.
When a serial device is connected, you can export your edited sequence onto videotape directly from your computer, for example, to create a master tape. To do so, select File > Export > Tape (Serial Device).
The Export to Tape (Serial Device) feature requires a third-party SDI tape export solution. Premiere cannot natively export to tape using Serial Device control.
For information about the many other new features, see New features in Premiere Pro CC.