Work directly with native camera formats
Adobe Premiere Pro CC offers thorough native media support, meaning you can edit virtually all of the major video, image, and audio formats natively without waiting.
In this demo, you can see me working with several formats within one Premiere Pro project: ARRI AMIRA, Canon EOS C300 and EOS-1D C, GoPro Hero 3, LongG on a Panasonic, Blackmagic Pocket Cinema Camera, RED media, and Sony F55. I can pretty much disregard the format I'm working with when cutting with Premiere Pro CC.
The 2014 release of Premiere Pro CC enables you to work with the vast majority of formats natively — including 4K, 5K and 6K RED media, XAVC, ProRes, and DNxHD — without transcoding or file rewrapping. Premiere Pro recently added support for Sony SStP and Canon RAW, and significantly expanded support for CinemaDNG formats.
That means you can mix formats on a single timeline and still expect the best-quality performance on a well-configured system — that is, a multicore CPU and modern GPU with a minimum 1 GB of video RAM and high disk throughput.
The Mercury Playback Engine takes full advantage of supported GPUs so you get smoother playback without rendering. With new support for the Intel Iris architecture found in current Apple MacBook Pro machines as well as Microsoft Windows configurations, the Mercury Playback Engine is now available to more editors.
GPU-based debayering for CinemaDNG and RED media is also supported, providing significant performance enhancements when you work with those formats and a supported GPU.
If you work with footage from the new ARRI AMIRA camera, you can take advantage of a powerful new workflow where LUTs created in-camera are automatically applied as Master Clip effects on ingest.
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