Adobe released Premiere Pro 14.0 (aka CC 2020). There are no big surprises in this iteration of the most popular NLE. Which updates are worth your attention?
I’m always excited when the editing software of my choice gets an update. But to be honest with you, this November 2019 Adobe Creative Cloud update…is below my expectations.
In the following video, I take a look at the most important updates in Premiere Pro CC 2020. Once you watch it, keep reading for my commentary about these updates and their effect on editors.
1. Auto Reframe
The biggest new feature is unarguably Auto Reframe. This is the only new feature in this release and what is more, we all could see it coming.
The effect uses Adobe Sensei machine learning to be able to identify objects that humans find interesting. Basically they took a lot of pictures and told the computer to analyze how human retina reacts to them and learn the patterns.
So how does this feature, that is supposed to automate the task of reframing videos for different aspect ratios, fit in everyday editing workflow?
We made it!!!
Episode #200 of the podcast.
Many thanks to everyone that has been listening these past few years. It has be fun, interesting, challenging, and most of all extremely rewarding over that time and I am looking forward to the future of the show.
Enjoy the results of the survey and thanks again if you participated.
Patreon Podcast -Predestined to be Moody
For the Patreon podcast this week we take a deep dive in to the film Predestination shot by Ben Nott ACS.
A visually striking film with lots to learn from this was a fun episode to record. If you support the show make sure you have added the RSS feed to your podcast player of choice to make the listening experience as easy as possible.
To see the images and listen to the special breakdown podcast click the link below:
The post The Wandering DP Podcast: Episode #200 – The Industry appeared first on Cinematography Podcast & Tutorials.
ON the latest episode of CookeOptics TV, director of photography Natasha Braier ASC ADF talks about a commercial she shot for Hennessy. Have you have ever wondered how a big budget commercial is shot? Well, you are in luck. Natasha breaks down shots on how they were filmed and what lighting was used. Natasha is … Continued
Whenever, Wherever, with Whatever: What’s New in Adobe Creative Cloud?
At the tail end of his introductory keynote, Shantanu Narayen, President and Chief Executive Officer of Adobe, cued the waterworks a little inspiration with a video set to Willy Wonka’s “Pure Imagination.” Narayen shared that the video was “a tribute to the community we all belong in, “the creative sphere that encompassed the Adobe Max in-person audience, the online audience tuned in from all around the world to the live keynote, and creators of all ages and all levels who may soon have access to Adobe products.
From the very beginning of Adobe Max 2019 and interwoven throughout every demonstration and talk, Adobe circled back to two key focuses: creativity for all wherever inspiration strikes, and, incorporating user feedback into its products. Adobe wants the creative community to have access to their tools, whether they’re using a phone, a tablet, or a computer. And it goes without saying that they want them to work.
Today at Adobe MAX, Adobe announced the latest release for Creative Cloud, focusing on new tools and features for video. Among all of the new updates, a few to note is the new Auto Reframe feature in Premiere Pro to optimize videos for vertical, horizontal, and 16:9 formats. Handy if you need to deliver content … Continued
Sleeker, more integrated, and with sophisticated app control, Syrp is pushing hard to dominate affordable powered camera movement with the Genie II.
New Zealand accessory makers have come out with a major revision of their original Genie motorized slider, the new Genie II, first shown off back at NAB 2019 and now shipping.
We used one of the original Genie systems for making a motion ident two years ago and we were very eager to see what the new unit offered in comparison. What we found can primarily be defined in terms of more integrated hardware and more sophisticated app control, something we failed to appreciate the first time around.
Here are our first impressions of the Syrp Genie II after using it on set.
A 17-year-old high school student was struck and killed by a Union Pacific train in Troutdale, Oregon this weekend during an ill-fated and ill-advised senior portrait shoot on the tracks.
According to local news outlet KATU 2, 17-year-old River Baker, a senior at Estacada High School in Estacada, OR, was struck by the train on Saturday evening. Law enforcement was called to the scene of the accident just before 6pm, and pronounced Baker dead at the scene.
News anchor Catherine Van tweeted that Union Pacific confirmed the news, and says the Multnomah County Sheriff is investigating “what led up to the teen getting hit.”
TRAGIC: @UnionPacific says a 17-year-old boy was killed by one of its trains last night while taking senior photos on the tracks near E Columbia River Hwy in Troutdale. @MultCoSO is investigating what led up to the teen getting hit. #LiveOnK2 pic.twitter.com/aiua2aarqK
— Catherine Van (@cat08van) November 4, 2019
The photographer involved has not been identified, but is no doubt being questioned by the Sheriff’s office to find out why they were on the tracks to begin with. Meanwhile, Union Pacific has released a statement of condolence and is begging photographers, parents and students to stay off the tracks.
“Our thoughts are with the teen’s family and friends,” says Union Pacific spokesperson Kristen South. “We plead with parents, students and photographers to not take photos on or near the tracks.”
As we’ve reported time-and-again, no photograph is worth the risk associated with a photo shoot on the tracks. While you might think that a large, lumbering train would be easy to spot and avoid, this TODAY show segment reveals just how easily a freight train can sneak up on someone and end a life.
Image credits: Header photo by Sean Lamb, CC BY-SA 2.0.
Dell has used Adobe MAX as an opportunity to announce the UltraSharp 27 4K PremierColor Monitor, a new 4K (3840 x 2160 pixels) Thunderbolt 3 monitor made with photographers and videographers in mind.
The monitor, which goes under the product code UP2720Q, is the world’s first 27-inch 4K monitor with a built-in colorimeter and Thunderbolt 3 connectivity that not only makes it possible to daisy-chain two monitors together but also lets you fully power a connected laptop at up to 90W.
The monitor features 100-percent Adobe RGB coverage, 98-percent DCI-P3 coverage and 80-percent BT2020 coverage — impressive numbers considering all of the other features this monitor has to offer. The stand-out feature of this monitor is a built-in colorimeter that pops out of the bottom bezel of the display and works with CalMAN color calibration software to consistently check the monitor’s color accuracy.
Other specs include a pixel density of 163ppi, a 1,300:1 contrast ratio, an 8ms response time and a less-then-stellar 250 nits ‘typical’ brightness. Aside from the two Thunderbolt 3 ports (one upstream, one downstream), the display also features one Display Port 1.4 connection, two HDMI connections, three USB 3.2 Gen 2 ports (downstream) and a single USB 3.2 Gen 2 port (downstream) with 2A ‘Power Charging.’
The monitor comes with an included shading hood and is expected to ship January 15, 2020 for $1,999.99.
While a ton of strobes and modifiers might be ideal for creating striking shots, it’s often best to shoot boudoir imagery using natural light to make things flow and keep your model at ease. Experienced boudoir photographer Michael Sasser offers three great tips for using natural light to capture stunning images.
Kenko Tokina’s filter and accessory brand Hoya has released a new filter for night sky photographers. It’s called the “Starscape Light Pollution Cut Filter,” and it’s meant to reduce the yellow and greenish color cast caused by city lights when you’re trying to capture the stars.
Light pollution filters like this one attempt to fight the color casts caused by Sodium and Mercury-vapor lights commonly found in cities, and Hoya is hardly the first to produce one. In exchange for 0.5 stops of light, the filter promises to produce “a more clear image with natural colors and improved contrast in the night sky.”
Here’s a before and after image showing the same photograph taken with (right) and without (left) the new Starscape filter:
And here is some time-lapse footage of the Milky Way shot by photographer Christophe Anagnostopoulos using the filter:
Hoya claims that its Starscape filter is better than competing options on the market because it uses a specially formulated glass instead of optical coatings.
“Other similar filters that cut light pollution by special glass coating can produce color shift especially when used with wide or super wide angle lenses,” explains Hoya, sharing the photograph below captured with “[an]other light pollution cut filter” as an example:
By contrast, Hoya’s “special glass formula” is compatible with wide and super-wide angle lenses, allegedly correcting the color cast in the sky while simultaneously leaving foreground elements unaffected. And while the example above seems pretty extreme to us, it’s always good to see some competition in this market.
To learn more about the Starscape Light Pollution Cut Filter, head over to the Hoya website. The filter will be available in 49, 52, 55, 58, 62, 67, 72, 77, and 82mm sizes, and pricing has not been revealed at this time. The November 1st press release was hailed as a “sales release”; however, but we have yet to see the filter show up at any online retailers just yet.
Social video creation just got easier.
This morning at Adobe Max 2019, Adobe revealed a slew of updates to the Creative Cloud Suite including the video editing software Premiere Pro and its mobile-ready companion, Premiere Rush. Together, two of the key updates shared live on-stage help make social video creation easier than before.
Let’s go over some of the most exciting new features included in these updates.
Auto-Reframe, powered by Sensei, now available in Premiere Pro
So you’ve created the perfect video; everything is locked, and now, your marketing team wants you to create a mobile-ready, vertical version of that same video. Premiere Pro has now made this easier with Auto-Reframe powered by Sensei, Adobe’s Artificial Intelligence technology.
Shown live on stage at Adobe Max 2019 by Jason Levine, Principal Worldwide Evangelist for Adobe (yes, that’s his actual title), Auto-Reframe uses Sensei to analyze your video, including the motion of your subject, to ensure that a perfect, reframed video is created, ready for exporting and uploading to social media.
Rachel and Daniel of Mango Street—one of the most popular photography channels on YouTube—have put together a great, straight-to-the-point guide to capturing that “moody” style of portrait that’s become a popular counter-point to the “dreamy” overexposed look that often dominates lifestyle imagery.
This short tutorial is targeted at beginners, offering basic tips on the kind of exposure, composition, posing, and lighting you want to try and replicate to capture shots like this—expert lifestyle photographers need not apply. That said, for those of you just starting out, who are looking for some basic tips, behind-the-scenes footage, and plenty of sample photos, Rachel and Daniel keep things pretty concise and entertaining, as usual.
The basic tips are as follows:
- Stick to one, directional natural light source
- Use a dark backdrop if you can help it
- Place your subject close to the light source
- Position your subject towards the light. For example: turn your subject’s face towards the light (i.e. a window)
- Expose for the highlights, then drop your exposure another stop or so
- Shoot wide-open for shallow depth of field
Check out the full video up top to see each tip in action alongside a bunch of sample photos and BTS footage, and then head over to the Mango Street YouTube channel for more tips and tutorial videos like this one.
How to Write a Treatment: The Basics of This Essential Screenwriting Tool
How to write a treatment should be on every Screenwriter’s list of capabilities. But why? And more importantly, what exactly is a film treatment again? It’s a common—yet often unasked—question that many Writers have. Especially when “write a great script” are the go-to words of advice, how to write a treatment is a skill that frequently leaves Writers scratching their heads.
While having a stellar script should always be the priority, that doesn’t mean ignoring other materials that could both improve the outcome of the script and put it in a better position to be read by executives, Managers, Agents, and Producers. So what are we waiting for? Let’s dive into the world of writing treatments.
In our discussion of how to write a treatment, we’ll cover:
- What a treatment is
- Why treatments are necessary
- Mapping out the story
- Generating script interest
- Creating the treatment
What Is a Treatment?
Before we get to how to write a treatment, it’s crucial to understand what it is. In fact, a treatment has a lot in common with a script. For one, the goal with each is to tell a story. Two, like a screenplay, a treatment is written in present tense.
However, a significant difference between scripts and treatments is that the latter is written in prose. That’s right! It’s more similar in format to a short story than a screenplay. So even if it has taken a Writer months or years to master the fine art of writing a script with all the unique elements that go along with it like scene headings, action lines, and dialogue, that pretty much goes out the door when writing a treatment. That being said, it’s still just as important to make sure the person reading the treatment receives strong introductions to each major character, as well as the significant plot points.
Why Are Treatments Necessary?
The task of how to write a treatment often comes with confusion and questions because some Writers don’t understand the why behind it. After all, if they have a solid script, what’s the point of a treatment?
Mapping Out the Story
First of all, a treatment can be an incredibly useful tool in assessing story. If a Writer can’t put pen to paper—or fingers to keyboard—and describe the script’s characters and explain its story trajectory in prose form, odds are they won’t do much better in screenplay format. So in many regards, a treatment can be used as a training ground for making sure the story is structurally sound. In short, does it read well? Is it compelling? Unexpected? All these elements should be part of a strong treatment.
Screenwriter Heidi Hornbacher notes, “The biggest benefit of writing a treatment is that it’s essentially me creating a roadmap for the project. It helps me sort out all the details and it forces me to do background work that always proves valuable once I start writing drafts of the script. So it’s good for me. Then, because I’ve thought through all this stuff, it’s much easier to articulate my vision to others like Producers or people who might be able to help make the project happen… I can talk about the look and feel of the world, the tone, the themes, anything like that. So a treatment helps keep me on track and sort out my creative process. AND it helps me articulate the details of the project so I can get other key folks as excited as I am about it.”
Of course, it’s possible that no one may ever ask for the treatment, but being prepared to provide one could mean the difference between getting an industry VIP willing to learn more about the story or simply saying, “No thanks.”
But why can’t a Writer just use an outline to achieve the same objectives? The truth is that they can. Both a treatment and outline provide a more in-depth fleshing out of a script that likely will provide a clearer path to a great script in comparison to note cards or a beat sheet. But where a treatment might provide an advantage over an outline is again in story flow. An outline often is written out scene by scene, which can be incredibly helpful. But a treatment is a tool that essentially ties those scenes together and reveals whether they seamlessly move from one to the next.
Says Screenwriter Andrea Smith Peek, “Writing a treatment helps me figure out story and character choices in a more manageable, smaller format. In treatment form, it’s easier to see how the whole story comes together, solve potential story problems, and get a feel for the emotional arc of the story. Not to mention, it’s easier to make changes to a treatment compared to a full script. The best thing about writing a treatment is when I finally get to actual script pages the dialogue flows because I know my characters’ wants, plans, and obstacles.”
Generating Script Interest
Some Writers wonder about how to get that script into the hands of someone like an executive or agent. But they should also be asking themselves how to get that  Because the truth is that some decision-makers may not want to read an entire script. Sure, they can—and often do—stop at the first 10 pages of a screenplay if they’re not connecting to the material, but that still leaves them without knowing the full story. So instead, some executives, Agents, Managers, and Producers might prefer to read a treatment.
In those cases, it typically won’t be a 50-page treatment that they’ll be wanting to read, which is why Writers should have on hand a version that’s about 10 pages or less. Of course, it’s possible that no one may ever ask for the treatment, but being prepared to provide one could mean the difference between getting an industry VIP willing to learn more about the story or simply saying, “No thanks.”
Another reason Writers should know how to write a treatment is so they’re ready to submit it for contests and fellowships. Especially over the last several years, competitions of all kinds have become a popular way for Screenwriters to get their work noticed. For some, all that’s required is the script itself. But for others, they mandate having a treatment of the story in addition to the screenplay. So having a treatment prepped ahead of time can mean a smoother submission experience.
When it comes to treatments, “always be prepared” is a handy motto to keep in mind. Because every Screenwriter wants to put out the strongest script possible, and knowing how to write a treatment can help them towards that goal.
How Does a Writer Go About Creating a Treatment?
Finally… How to write a treatment. Just like any other type of writing, it’s entirely possible that someone may simply want to take a seat at their computer and begin. But as with a screenplay, a little preparation never hurts.
That’s why some Writers may decide to start with note cards, beat sheets or even an outline before writing their treatment. In the same vein, these tools can provide a useful roadmap as a Writer creates their treatment and make the overall process an easier one.
Also, these tools can actually help Writers focus on the “bigger picture.” Unless the intent of the treatment is for the Writer’s eyes only as they eventually make the leap to their script, it doesn’t necessarily need to have every minor character and side plot explained. As mentioned earlier, many times treatments are provided in lieu of a script so that the person on the receiving end can spend less time reading it. Therefore, having a concise list like a beat sheet or even a condensed outline can be a strength in making sure that the treatment sticks to only the major characters and significant story arcs within the three-act structure.
One disclaimer: Like a script, each new character who is introduced into the treatment should have their name capitalized at first mention. This lets the reader take note of their introduction and more easily track them in the story. Otherwise, Writers should craft the treatment in conventional prose form as if they are writing a story. Writers should also include the (eventual) script title and logline, as well as their contact information.
Once finished, the next steps follow a similar trajectory to a script. Some Writers may choose to put the treatment away for a few days or weeks and come back to it with fresh eyes. Some may put it away for a while, make revisions and then send it out for feedback to a few trusted colleagues. There’s no one way to polish a treatment outside of recognizing that a first draft should never be the draft sent out for submission.
Screenwriter Steven Vivell emphasizes the importance of working and reworking a treatment, “You want the story you love the most… This means exploring and eliminating lots of options. You might waste your time writing a script that doesn’t have enough to sustain the story and characters. Then you’ll go back to the drawing board anyway. It’s better to do that preparatory work first and save yourself a lot of time and effort. Some Writers fear this because story plans or character biographies might feel technical and mundane, like writing an official report. But it’s an extremely creative and critical part of the process, and adopting a creative mindset for this may help. It’s also fun, because you can dream up anything without committing to anything (yet). Also, none of this is permanently set in stone. The treatment can and will change once you start writing the script. You must be open to change during the writing process, as you’ll discover new things you like, and some things you planned won’t work out.”
When it comes to treatments, “always be prepared” is a handy motto to keep in mind. Because every Screenwriter wants to put out the strongest script possible, and knowing how to write a treatment can help them towards that goal. At the end of the day, not only can a polished treatment support those efforts, but also—and perhaps more importantly—it can provide a Writer with confidence so that when opportunity knocks, they’ll be ready to open the door.
- McGrail, Lauren. “What Is a Film Treatment, and When Do You Need One?” Lights Film School. Retrieved 24 October 2019.
- Grover, Micki. “What is a Film Treatment, and Why Do I Need One?” Writers Store. Retrieved 24 October 2019.
- “How to Write a Screenplay Treatment That Gets More Requests.” Script Reader Pro (2 June 2015). Retrieved 24 October 2019.
- Hellerman, Jason (23 October 2018). “How to Write a Treatment (with Film Treatment Examples).” No Film School. Retrieved 24 October 2019.
Japanese filter and accessory manufacturer Hoya has introduced its new light pollution cut filter, Starscape. The filter is designed specifically for nighttime photography, enabling photographers to capture star-filled night skies in areas where light pollution could limit visibility.
The Starscape filter is designed to reduce the glare produced by the mercury and sodium vapor lights commonly found in cities. According to Hoya, its filter cuts the greenish and yellow hues that may result from artificial light pollution, ultimately offering what the company describes as ‘natural color reproduction.’ It’s unclear how well it can handle light pollution from LEDs, however.
Hoya will offer the Starscape 1.5 ND filter in 49mm to 82mm sizes; it features a low-profile aluminum frame and 0.5-stop exposure reduction. Pricing and availability information hasn’t been revealed at this time.
With the new update of the Adobe video apps I think its worth a reminder to be careful when updating so you can keep your old(er) version if you need to get back to it. With the recent redesign of the Adobe Creative Cloud app, I think this warrants its own post instead of being tacked onto my article on the Adobe Premiere Pro 2020 update.
There is no problem leaving multiple installs of Premiere on your system. Adobe even facilitates this with an option to keep older versions installed when updating to a new, major release. This isn’t always an option because sometimes the smaller dot releases don’t give this option. And sometimes it’s even possible to open a newer project file in an older version of Premiere. Sometimes but not often.
Let’s walk through this.
With the new Creative Cloud app you can see what is installed, including different versions of Premiere. Hit the little three dots submenu and you can see what Other versions might be available.
This is what I have installed and what is available. If you think back there was some controversy earlier in the year as Adobe eliminated some of the older versions of the apps that were available. Some users saw different things depending on what you had installed but if I was to uninstall the 11.1.4 version above I don’t have any idea if I would be able to re-download it again. I’m not going to try but the truth is I don’t think I’ve opened it in a long time but I guess it’s better to be safe than sorry.
If you’re presented with this box you want to make sure the Remove old versions box is unchecked if you want to keep older versions of any of the Adobe apps. This box should be unchecked by default these days but it used to be checked by default. Regardless, give it a look before proceeding.
It will then do its thing.
You may be left with something like this above. Notice that the new Adobe Premiere Pro 2020 no longer has CC in its name as Adobe has dropped the “CC” so it won’t sort the same alphabetically.
Happy smiles as we get new splash screens on these major updates.
When opening an older project in PPro 202o you’ll be prompted to save it as a new version as newer projects can’t be opened in older versions. I tested it. I added the CC2020 in the project name above to help me know what is what as far as project versions go.
See, you can’t open newer projects in older Premiere versions.
If you really get separate you can use one of the unofficial and unsupported Premiere project downgraders out there. But those are used at your own risk. Wonder what happens to a newer PPro project that has had new features that is then downgraded? I wondered the same thing so here’s a quick test.
I took a project and pumped the volume up to the new +15 db and did some Auto Reframe in PPro 2020. I think downgraded that project and opened it in PPro 2019.
The audio opened back up with the old maximun db of +6. It playbed back fine.
The Auto Reframe sequences opened up in the downgraded project with all of the resizes and keyframing intact that was generated in PPro 2020. The Auto Reframe effects is gone and shown as offline in the Effect Controls as you can see above. This is what happens when you open most any project into a different version of PPro or an install that is missing third party filters and effects. Obviously those filters won’t show if they are offline. In the case of Auto Reframe you won’t be able to reanalyze any clips but if you’ve done the reframe work it looks like it’ll all be there if you downgrade. But best practice is to not downgrade your Premiere project file if it can be avoided.
As always do not update your installs mid-project. But we all know there are those that do and those that are always mid-project so I wrote this post about updating mid-project a long time ago.
The post Careful updating to Adobe Premiere Pro 2020 and keeping your older Premiere versions installed appeared first on ProVideo Coalition.
Photography is expensive. Even a budget camera is expensive, so for many of us, a career in professional photography seems out of our reach. Here are some tips for getting there.
As part of its MAX 2019 conference, Adobe has announced updates for all of its photography products, including Lightroom on desktop and mobile platforms, Lightroom Classic, and Adobe Camera Raw. A number of changes arrive as part of these updates, including the addition of interactive edits and guided tutorials in Lightroom on Mac and Windows, advanced exporting in Lightroom for Android and ChromeOS and more.
|A screenshot from Adobe showing off the new tutorial interface inside Adobe Lightroom.|
The majority of the newly announced updates are for Lightroom on desktop. In addition to the aforementioned guided tutorials and interactive edits, this software is being updated with more advanced exporting options including TIF support, GPU acceleration, a new Fill Edges feature for panoramas that is powered by Content-Aware Fill tech, a new migrator tool for moving to Lightroom from Photoshop Elements and support for directly ordering prints from White House Custom Color.
|A screenshot from Adobe showing off the interface for the White House Custom Colour inside Adobe Lightroom Classic.|
In addition to the desktop software, Adobe is updating Lightroom for ChromeOS, as well as Android and iOS. As mentioned, both Android and ChromeOS have received advanced export control that includes more options and support for batch exporting images in original, JPEG, and TIF formats. These features will arrive on iOS ‘soon,’ according to Adobe.
As well, all three platforms are getting contextual help, which was first added to Lightroom on Mac and Windows earlier this year. The new help menu is accessible by selecting the ‘?’ icon within the Lightroom app on iOS, Android, and ChromeOS.
Lightroom for iOS is finally receiving the Batch Editing feature that launched on desktop last year and on Android and ChromeOS back in August. With this, users can apply changes to multiple image selections simultaneously, cutting down on editing time when using an iPhone or iPad.
Finally, Adobe Camera Raw and Lightroom Classic are both getting the Fill Edges feature for panoramas that is detailed above. Lightroom Classic is also receiving support for multi-batch export and the ability to easily export and share presets and preset groups with others.