The Adobe Premiere Pro CC 2015.3 release (June 2016) delivers easy proxy media creation that allows you to switch seamlessly between original high-resolution and proxy low-resolution clips. Get your work done faster with the Premiere Pro family of apps, connected to each other and to your creative assets by Creative Cloud, providing a more streamlined way to create. Premiere Pro also now offers powerful support for VR Video workflows. Color and light have never been more important and with new enhancements to the Lumetri Color tools, creative possibilities are greatly expanded. Thanks to CreativeSync, all your creative assets — your media, looks, images, and Stock content — are available in Premiere Pro CC.
Premiere Pro now supports proxy media creation, allowing you to easily switch between original/high-resolution and proxy/low-resolution clips. Heavy 8K, HD or HFR media can overload even the most powerful computer systems. Using lower-resolution proxies can speed up editing, while maintaining the ability to switch back to the original high resolution media for final output. With proxy creation, you can work with high-resolution media flexibly, across different devices (for example, on lightweight devices that are slower and have less storage). Switching between proxy/low-resolution and original/high-resolution files has never been easier or more fluid.
To learn more, see Proxy Workflow.
Now you can start editing footage immediately while it’s being imported in the background. Mount the camera media and start editing right away. Once the copy is complete, Premiere Pro switches to using the copied media—allowing the camera media to be freed up for use elsewhere.
To learn more, see Ingest Workflow.
A new VR workflow allows you to move around virtually inside spherical media using new monitor controls or by click-dragging on the video for a complete preview of the VR video playback experience. Premiere Pro export properly flags the file so VR-capable video players such as YouTube automatically recognize it. You can also preview stereoscopic VR media by switching into anaglyph mode (requires anaglyph 3D glasses).
To learn more, see Support for VR Workflows.
New enhancements to the Lumetri Color tools help you be more creative with color. For example, using HSL Secondaries, you can easily select a specific range of colors to make adjustments to. Premiere Pro also now offers color grading control surface support, which gives users finer control over the subtleties of the color grade than what can be achieved with a mouse and keyboard. Using the White Balance eyedropper feature, you can now set the white balance within the frame with a single click. You can also set the brightness of the scopes to one of three levels to make them more readable in various lighting conditions. Apply preset SpeedLooks with just one click.
Lumetri panel grading controls can now be mapped to control surface devices (Tangent Devices - Elements/Wave/Ripple).
To learn more, see Control Surface Support for Lumetri Color.
A new section called HSL Secondary has been added to the Lumetri Color effect. This section provides more color tools to isolate a color/luma key and apply a secondary color correction to it.
To learn more, see HSL Secondaries.
The Lumetri Scopes now feature improvements to 8-bit display quality, and the ability to adjust the brightness of the scopes from Normal(100%) to Bright(125%) or Dimmed(50%).
To learn more, see View Lumetri Scopes.
Premiere Pro now comes with SpeedLooks Studio Linear, a new creative look presets package. These look presets are optimized for Rec709/DSLR footage.
To learn more, see SpeedLooks Studio Linear look Bundle.
Notable keyboard shortcuts that have been added include:
To learn more, see Default Keyboard Shortcuts.
Multiple enhancements have been added to the editing experience to ensure editors can work faster and more efficiently. Range selection now auto scrolls the timeline vertically to select more clips outside the current view. Remove specific effects using the Remove Attributes command.
To learn more, see Create and change sequences.
All clip markers for a sequence can now be displayed in the markers panel. Filter clip markers in the
markers panel by color and view only those colored markers.
To learn more, see Working with Markers.
Premiere Pro now allows you to apply the field dominance to multiple clips in the timeline (or project panel).
To learn more, see Using multiselection for field options and field dominance.
You can now drag sequence video and audio tracks to a shorter timeline height, collapsing tracks not in active use to devote more space to others.
Premiere Pro now comes with improved Morph Cut Face Detection. Premiere can now find faces in more challenging shots, giving editors the option to use a morph cut.
Premiere Pro now allows you to select clips in a sequence that already have effects applied, and use the Remove Attributes command to remove specific effects from a range of clips.
Premiere Pro’s timeline now auto-scrolls the timeline vertically to select clips beyond the current view while using the selection or lasso tool.
Premiere Pro features new features to allow editors to create and edit open captions. An editor can now create open captions (subtitles) directly in Premiere Pro without having to use a 3rd party plug-in to create them. This feature allows a user to select the font, color, size, and positioning of open captions on screen.
To learn more, see New Open Captions.
Premiere Pro now ensures maximum performance with support for H264 GPU acceleration on Windows. Users with lightweight PCs and integrated Intel GPUs can now experience improved playback performance with H264 media due to GPU acceleration.
Premiere Pro now offers broader native format support (including Red Weapon). You can now edit virtually any type of media and not worry about transcoding, thanks to broad native format support. This saves much time and allows you to jump-start the editing process.
The Title functionality within Premiere Pro CC now supports more languages in their native alphabets, including MENA territories: Arabic and Hebrew. Users in more geographies can now incorporate titles in their native alphabets.
Twitter has been added to Premiere Pro’s extensive destination publishing workflow, joining other social media publishing options such as YouTube, Facebook and Vimeo. Now users can render and share videos directly to Twitter from Premiere Pro.
Premiere Pro has added support for the Panasonic AVC-LongG codecs (AVC-LongG6/12/25/50) in an MXF OP1a wrapper. These codecs are available under the MXF OP1a format.
Premiere Pro now allows you to export using the AS-10 export option, which is now available in the format drop down.
Premiere Pro now supports the import of Speed ramps and exporting the same to Final Cut Pro XML documents.
Premiere Pro now has an option to directly export to an XDCAMHD Disc. When an XDCAM HD codec is selected there is a Sony device compatibility check box. Checking this enables support for writing directly to an XDCAM HD disc.
You can now smart render your QuickTime XDCAM HD sources in to an MXF wrapper. It’s as simple as selecting the Enable Smart Rendering check box of a matching MXF OP1a preset.
Premiere Pro does not support smart rendering MXF XDCAM sources to QuickTime XDCAM.
Premiere Pro now offers support for HEVC 10-bit export, which is available under the Profiles setting of the HEVC Video tab. Main 10 profile permits 10-bit exports. You can also export using the Rec. 2020 color primaries when you select the Main 10 profile.
A new check box, Sony device compatibility has been added to XAVC export settings. By default, this setting is deselected and generates output that always matches the full duration of your source. When checked, the output adheres to Sony specifications that may truncate the end of your file.
Match Source is now offered for all still image formats supported by AME, matching the source frame height, width, rate, field order, and aspect ratio. Older presets have been removed and replaced with the new Match Source versions.
Twirl states are now remembered in Export Settings so they don't have to be readjusted to an up/down open/closed state each time.
You can now purchase Stock assets directly from within the Premiere Pro Project area. For watermarked Stock assets, you can now see a new Shopping Cart icon in the Project area for these files, and you can now purchase Stock assets directly from the Project area by clicking this icon. Also, if you have a watermarked Stock asset in a Sequence, you can right click the clip in the sequence to see a License option in the context menu. You can purchase a watermarked Stock asset directly from the clip in the Sequence.
You can now share read-only CC Libraries that are locked from editing but can still be used. New assets can be automatically updated and shared instantly. This feature allows you to share read-only locked Library assets that cannot be renamed or deleted from the library. You can also set different
levels of access to a read-only library. 'Edit only' access allows collaborators to edit, rename move or delete the contents of a library. View only access limits a collaborator to using and commenting on an asset. You can now share a public link(URL) to share library assets and this library appears in the users' library panel, so they can automatically get updates to the library in the apps that support Libraries.
This feature allows users with Dolby Vision MXF clips to export cuts-only copies of Dolby clips to a new Dolby container, along with smart rendering of the underlying media files. If any changes are applied, the exported MXF does not retain the Dolby metadata. This is a useful way to join together or make cuts-only edits to existing Dolby Vision material.