Adobe Premiere Elements 10

The tenth version on the tenth anniversary of Adobe’s market-leading video-editing software brings full 64-bit support, key to powerful video editing, considering the file size of modern video content. It also makes some delightful effects far simpler to create.  Color correction and enhancement tools have gotten simpler and more powerful. The good folks at Adobe have also added the ability to directly upload to Facebook and YouTube. And new support for the popular AVCHD format means you can burn DVDs with Blu-ray quality HD. But is all this enough to bring Premiere Elements back into the lead among consumer video editors?

In short, no. Though performance gets a boost over the last version, the program still isn’t as quick at rendering and previewing digital movies as CyberLink PowerDirector 9 ($99.95, 4.5 stars). Premiere Elements’ still has a well-designed interface. And its organizational skills are excellent, beating the competition with its automatic video tagging, including automatic people-tagging.

Setup
New for version 10 is a 64-bit Windows version. The setup isn’t a quick hit of the install button. The 1.5GB installer still requires a reboot, and if you want the full set of content like menus, themes, and templates, you’ll have to install it from a second DVD. It’s a lot of content—three standard-definition sets and three HD. Nero’s Video Premium HD manages to get all the content loaded in one bout of installation, but it does require a reboot and takes a lot longer. I tested Premiere Elements 10 on a 3.4GHz AMD Phenom quad-core desktop with 4GB RAM, running 64-bit Windows 7. The graphics adapter was an ATI Radeon HD 4290 with the latest driver installed.

The Organizer
Whenever you start Premiere Elements, you’ll first see its Welcome screen, from which you can open or start a new project, or open the same Organizer app you get with Photoshop Elements 10. As we’ve complained in the past, this window is more of a roadblock to get to the editor than in any other consumer video editor. Sony Vegas Movie Studio, for example, just shows a small welcome box to let you start or open a project, but its main editor window is already loaded.

The first time I ran the Organizer, it offered to import all my pictures and videos residing on the PC. Unlike Picasa, it doesn’t just scan your disks—you tell it which folders to check. Still, you can set folders to “watch” which will cause Elements to automatically import anything new. It will, however, by default check all subfolders of the folder you choose. The separate Organizer app seems more skewed to photos than videos. Some options that might seem to apply to video as well as photos don’t. For example, “Auto Color” simply pops up a message saying you can only use it with photos.

You can access how-to videos from the Organizer, but some help video content is reserved exclusively for Plus members, even though some of the tips are pretty basic (like when to use the Timeline versus Sceneline view). I wish it were easier to view just videos and to view all files on the PC without having to select a folder. Fortunately, once I got out of the Organizer and into the video editor proper, buttons let me do this. I could preview clips in the Organizer, but some only after downloading a separate driver (QuickTime).

Importing
When I clicked the Import Media button, an Advanced window displayed thumbnails of the videos in the source I chose, whether a folder or media card. This dialog also let me apply metadata such as tags and copyright info, as well as auto-correction of red eyes and stacking similar images. As with most software that does media importing, you can specify deleting the media from the camera after import, but I’m not a fan of using that till I know I’ve got the videos and photos safely on my PC. For one MP4 HD video I imported, Premiere Elements would never show me a thumbnail in its source tray, even though other apps and even Windows itself had no trouble showing it.

During import, Premiere Elements can analyze and tag your content, associating Smart Tags to it, indicating characteristics like blurry or in focus, bright or dark, and perhaps most impressively, whether the clip contains people. Face detection provides a helpful and automated way to find clips later using the tag filter dropdown. This isn’t equaled in other apps like PowerDirector or Pinnacle Studio, though iMovie has a similar feature.

Surprisingly, most other video editors (Pinnacle, PowerDirector, Vegas Movie Studio) don’t offer any video tagging, the way most photo editing software lets you tag images for organization and selection later during clip selection. But the automatic people tagging is even more impressive than it sounds—you can later limit your clip tray to just those with One Face, Two Faces, Small Group, Large Group, Close-up, or Long Shot—all without manually entering a single tag. It’s not at the point of face recognition that some photo software does, but it’s a start.

Video Editor Interface
Its polished interface is one area in which Premiere Elements shines, beating out most of the competition in general usability and clarity. Once you get to the actual video editing interface by choosing “Edit with Premiere Elements,” you’ll see your imported clips’ thumbnails in the right media tray where you can click a star rating under each, or double click to do some trimming in the previewer. Tabs at the top for Project, Edit, Disc Menus, and Share modes make for a well-designed and clear video project workflow. These mode choices outshine what you get in Sony Vegas Movie Studio, but are equaled in PowerDirector.

Buttons here make it simple to view only video or photo thumbnails and to sort by length or name. Right clicking on the source thumbnail offers choices to remove tags—either auto or your own—or create an InstantMovie. You actually start creating a non-Instant movie by dragging clips into either the timeline or scene view.

Instant Movies
The Create Instant Movie checkbox is perfect for those who want instant creativity. When I chose this, after importing I was presented with a choice of themes, from birthday party to sports to newsreel to “Performance Star,” but several of them more suited to still image slideshows. Some themes involve yet another download and install process , though. Nero Vision Xtra—part of the company’s Video Premium HD, goes further than both, with 40 included themes and a whole site for community-built themes. But other options like Sony Vegas Movie Studio offer no instant movie feature at all. I do like that you can preview Premiere’s themes—both their sound and visuals.

The instant movies turned out some engaging results, with relevant intros, transitions, and added objects like footballs and soccer balls for the new Fun in the Sun theme. CyberLink and Nero offer tons of community-generated themes, so you’re more likely to find, say, a specific rugby theme rather than just a general sports theme.

A new option in Premiere Elements 10 is the automated Pan and Zoom tool. This automatically finds faces in photos and creates a movie based on these. You can choose how long you want the frame on each face. But this only works with one photo at a time. My results were less than brilliant. I was impressed that the software could identify the back of a head as a human, but missed one of the front-facing faces.

Basic Editing
Clip entry, trimming, and splitting are a snap in Premiere Elements. The bracket that appears in the timeline when you place the cursor at a spot in a component clip make for an easy way to trim and split clips, but a double click opens precision trimmer in a separate small window for more accuracy. Disappointingly, this tool didn’t let me set multiple in and out points, the way PowerDirector does. Premiere Elements’ timeline view is less quick to respond to zooming and other navigation than PowerDirector and Pinnacle Studio, but its Sceneline view is more useful, with transition drop targets between your clips. The timeline responsiveness is a big win for PowerDirector, though. All three apps let you step through a clip frame by frame using timecodes, or enter a specific timecode to jump to.

Adobe Premiere Elements can do all the basics—lighting, rotation, cropping, clipping. It also offers auto contrast, auto levels. A quibble is that it would be nice if you could double-click on the effect thumbnail to apply it, rather than having to click the Apply button. After applying, most effects offer further control from the Edit Effects button. In all, there are over 80 effects you can apply, in groups like distort, stylize, and transform. A right-click offers time stretching, which lets you speed up or slow down a clip to fit your time budget, or just for effect.

Transition options are plentiful, and, as with effects, I like how you can choose a type from a dropdown like 3D motion, dissolve, iris, or page peel. And a search box lets you enter the name of the one you’re looking for. CyberLink PowerDirector doesn’t have the search, which makes it harder to find the transition you want.

 

Getting Fancy with Your Movies
Not only does Premiere Elements offer plenty of keying options like blue and green screening to paste a foreground video, such as a person in front of a different background video, but it also offers VideoMerge, which doesn’t require a green or blue screen, but tries to remove the background automatically. When I tested this, even on a uniform background, the results were pretty useless, though a bit better when I used the option to specify a color for removal. A green-screen chroma key, however, worked nearly perfectly in my testing.

The app accepts third party VST audio plug-in effects and even comes with some third-party video effects like the NewBlue Cartoonr Plus, which attempts to give your video a cartoon drawing effect. Its results were pretty interesting, if not a total replacement for human cartoon animators or Pixar Studios. It did offer a wealth of adjustments like density, cleanup, width, mix, layers, and nine paint options. Pinnacle Studio requires a $100 add-in to create a cartoon effect. Nero’s Sketch effect is similar, but offers less control than Adobe’s. And Sony Vegas Movie Studio offers the same NewBlue FX, and even offers more helpful presets for drawing styles.

Another feature Premiere Elements gives you is effects masks, which let you apply effects to just one area in the video frame. This isn’t possible in more-entry-level apps like iMovie, though all the direct competitors like Sony Vegas Movie Studio and Nero Video Studio HD do this. The app also offers keyframing to time effects with specific video frames you mark, and a motion detection feature that lets you attach objects like speech bubbles to moving parts of the video, and Timeline markers and beat markers for soundtrack synchronizing. You can change the speed of or have a clip play in reverse, or freeze frame—mostly stuff you can forget about looking for in an entry-level video app.

A new option in Premiere Elements 10 is the automated Pan and Zoom tool. This automatically finds faces in photos and creates a movie based on these. You can choose how long you want the frame on each face. But this only works with one photo at a time. My results were less than brilliant. I was impressed that the software could identify the back of a head as a human, but missed one of the front-facing faces.

Whether you’re a fan of 3D video or have no use for it, the leaders among the latest generation of consumer video-editing software offers it. PowerDirector, MAGIX Movie Edit Pro 17 Plus HD, and Vegas Movie Studio HD Platinum can all boast the capability. Premiere Elements, unfortunately, has nothing to show in 3D editing yet.

Audio Editing and Cleaning
Premiere Elements lets you view audio waveforms under each clip in your movie project’s timeline, and lets you raise and lower the volume at particular points, fix noise and hum, or even add wacky sound distortion and acoustics effects. But PowerDirector adds a full app for audio fixing, rather than Premiere Elements’ batch of separate effects icons in the effect panel. In either, you can make multiple voiceover tracks, and keep adding more till you have all the commentary you want.

The SmartMix feature can automatically mix multiple audio tracks including  soundtrack background and dialog, and Prefab soundtracks, called SmartSound, are available, which Mac users can take advantage fo. The latter involves a plugin from Sonicfire. This exited without working for me, even though I had a strong internet connection, required for the plugin to download.

Output and Sharing
Premiere Elements sharing options are no longer relegated to the Organizer. Now you can upload to Facebook, YouTube, or Podbean directly from within the video editor. Easier sharing to Facebook is one of Elements 10’s hallmarks, as is a DVD-like online experience hosted by Adobe on Photoshop.com. Sharing to YouTube—where else would you want to upload your video?—couldn’t be easier. And you can choose 1080 high-definition format. Just click on the Share tab, which also lets you create a “Web DVD”—an online video hosted at Photoshop.com that includes DVD-style menus. You can also upload to Podbean.

Alongside uploading and file creation are Premiere Elements’ DVD authoring talents, accessed from the Disc Menus tab of the source panel. Here’ you’ll see main and scene menu template thumbnails grouped by general, birthday, sports, wedding, and so on. There are 14 categories, with two to seven choices in each. Of course, you can join the Plus program for more styles. You just drag the one you want to the preview window, and chapters will be automatically created if you haven’t already designated scenes. Type on titles right in the preview window to customize, and drag media into the menus. I could burn Blu-ray discs as well as DVDs, and new for version 10, AVCHD format to DVD, which lets you play shorter HD videos on a standard DVD player.

Performance
Premiere Elements was mostly sturdy and responsive, but I actually managed to crash it a couple times on my 64-bit Windows 7 machine. One MP4 720p test played HD video extremely sluggishly at full screen in the Organizer, compared with PowerDirector’s smooth playback. In the editor proper, playback was smooth, but very blurry. Premiere Elements reduces the resolution for snappier playback while editing, but on my test machine, which wasn’t a slouch, these previews were extremely muddy. The preview image would snap into focus when I paused.

Sometimes when I moved the scrubber or hit Play, I had to wait several seconds before anything would happen.  But when I applied the Stabilizer effect in the editor, the video playback stalled, looking more like a slideshow. A red line over the clip in the timeline shows un-rendered movie sections, explaining the jerky or muddy preview. I could select the clip and hit Enter to wait for it to render it, but even for a 30 second clip, this about 3 minutes. This points to the importance of my next test, rendering performance.

In a head-to-head rendering performance test, I took a test movie consisting of the same five clips of mixed types (some 1080p, some SD) with the same transitions and rendered it to 720p MPEG2-DVD format in each program. Premiere Elements took 7:27 (min:sec), while PowerDirector took 3:02 for the same source, transitions, and output format on the same PC. That’s less than half the time, folks! Premiere Elements showed an estimated time to completion, which was useful and quite accurate. PowerDirector adds the time elapsed, and actually previews the video being rendered. Of course, if you extrapolate the time difference out to longer, higher-definition projects, they’ll be magnified.

Adobe Premiere Element’s startup time has improved from last time I tested. A warm startup (after the program had been running, then was shut down) took 25 seconds, and a cold startup, after a system reboot, took 34 seconds. Shutdown, too, was far better, happening in about a second. But PowerDirector still had Premiere Element’s soundly beat on this measure, starting up cold in 16 seconds, warm in a snappy 3 seconds, and shutdown was nearly instantaneous.

Taking Your Digital Movies to the Next Level
Premiere Elements 10 adds a few new tricks, but its performance trails that of CyberLink PowerDirector significantly. Waiting for operations to finish is no video editor’s idea of fun, and by that measure PowerDirector has Premiere Elements beat hands down. With loads of video enhancing and movie techniques and embellishments, Adobe Premiere Elements 10 is still a good choice for budding videographers. But because it hasn’t moved forward as much as we’d hoped, not just in performance, but in advanced things like 3D editing, Adobe Premiere Elements 10 still trails our consumer video editing software Editors’ Choice, CyberLink PowerDirector.

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Use Bump To Instantly Share Contacts & Photos With Your Friends [iOS Tip]

Killian Bell (12:00 pm PDT, Feb 24)

Use Bump To Instantly Share Contacts & Photos With Your Friends [iOS Tip]Click here to see Cult of Mac's complete archive of iOS tips!

Are you still emailing contact cards and photos to your friends? Did you know that you can transfer them instantly with a fist bump using the free Bump app? The best thing about Bump is it’s not just available on iOS, so you can use it to send contacts and images to friends on Android devices and other smartphones, too.

Here’s how to get started.

First, download the free Bump app from the App Store. You and your friend will both require the app to send and receive information between your devices, but it’s incredibly simply to set up, and well worth the effort.

Once installed, run the app and fill out your “card” with your personal information, or use an address book entry or your Facebook profile to fill it out automatically.

Use Bump To Instantly Share Contacts & Photos With Your Friends [iOS Tip]

Now swipe over to the next page, where you’ll see the images you have stored on your device. Simply tap the images you’d like to share with your friends, and once you are done, bump both devices together to start sending them.Use Bump To Instantly Share Contacts & Photos With Your Friends [iOS Tip]

If you’d like to share contact information, simply swipe over the the third page and select which contacts you’d like to share from your address book. Once you’re done, it’s time to fist bump again.

Use Bump To Instantly Share Contacts & Photos With Your Friends [iOS Tip]


Director Michael Bay Signs Two-Picture Deal With Paramount

Paramount Pictures announced today that director Michael Bay has signed a two-picture deal with the studio, which will commence this spring with the filming of “Pain and Gain,” and will be followed by the next installment in the hit “Transformers” franchise.

Based on a true story, “Pain and Gain” follows a group of bodybuilders who engaged in a campaign of kidnapping, extortion and murder in Florida. First told in an article from the Miami New Times, “Pain and Gain,” will be directed by Bay and will star Mark Wahlberg and Dwayne “The Rock” Johnson. Expected to begin production in early spring, the movie’s producers include Bay, Donald De Line and Ian Bryce.

Following “Pain and Gain,” Bay will bring audiences a new take on the “Transformers” franchise as he begins production on the fourth installment in the hit series of movies based on the best-selling Hasbro toyline. The third, and most recent installment of the franchise, “Transformers: Dark of the Moon,” is the fourth highest global grossing film of all time with 1.124 billion dollars of worldwide box office success. Directed by Bay, the movie will re-unite the filmmaking team from the hit franchise, including producers Lorenzo di Bonaventura, Don Murphy, Tom DeSanto and Ian Bryce; and executive producers Steven Spielberg, Bay, Brian Goldner and Mark Vahradian. Paramount Pictures will release the film on June 29th, 2014.

“Michael has been working on PAIN AND GAIN for a number of years but has patiently waited for the perfect casting to trigger a start,” said Adam Goodman, President of Paramount’s Film Group. “Clearly his patience has paid off as we couldn’t be more excited about this combo. His passion for this project is just awesome.”

Academy Award Given to Creators of the ArriLaser

On Saturday, February 11th, Franz Kraus, Johannes Steurer, and Wolfgang Riedel were presented with the Academy Award of Merit (Oscar Statuette) for the design and development of the Arrilaser during the Scientific and Technical Awards, hosted by actress Milla Jovovich. The Academy of Motion Pictures Arts and Sciences (A.M.P.A.S.) noted that the film recorder “demonstrates a high level of engineering, resulting in a compact, user-friendly, low-maintenance device, while at the same time maintaining outstanding speed, exposure ratings, and image quality.”

Franz Kraus, Managing Director and member of the Executive Board at ARRI, studied electrical engineering and has been with the company for 28 years. Johannes Steurer is ARRI’s Principal Engineer and Arrilaser Project Manager; he has a doctorate in electrical and information engineering, and has been with ARRI for 17 years. Wolfgang Riedel, Project Manager Fraunhofer IPM, studied physics. He worked on laser spectroscopy and other complex optical systems at the Fraunhofer Institute for Measurement Techniques for 29 years before retiring in 2009.

Upon accepting the award, Kraus said, “We are particularly pleased to receive the Oscar for this product because it is the first digital system ARRI ever built. The Arrilaser has been a success in itself, but it was really the foundation for further digital projects: the ARRISCAN and ARRIFLEX D-21. Without those products there would not have been the in-house engineering competence and the customer confidence for the successful design and marketing of the ALEXA camera.”

Riedel pointed out that timing was key to the Arrilaser penetrating the postproduction world. “It was a development at just the right point. It couldn’t have been any earlier and yet it was early enough to have influence on the industry.”

Steurer recalled an early presentation of the Arrilaser that took place in a hotel suite with a makeshift film lab during the National Association of Broadcasters conference. “This performance was simple and convincing,” he said. “The Arrilaser quickly became the buzzword on the show floor and we realized we were on the right path – we were doing something important. It turned out that the Arriaser was the right product at the right time and the right price, hitting a nerve in our industry and enabling worldwide film production to move into digital.”

The initial concept of the Arrilaser was inspired by the development of a large-scale laser printer at the Fraunhofer Institute IPM in Freiburg. Riedel suggested utilizing the experience gained on this previous project for the film industry, which led to a successful partnership between the Fraunhofer Institute IPM in Freiburg and ARRI in Munich. Together, Kraus, Steurer, and Riedel came up with product specifications for a laser-based, high dynamic range, high resolution film recorder. After just two years of development, the first prototypes were delivered to Digital Domain and Computer Film Company for beta testing in 1998. Today, the Arrilaser is the industry standard, with over 280 units in use around the globe.

The Arrilaser was previously awarded an Academy Plaque; this latest Sci-Tech honor is the 17th award from the Academy of Motion Pictures Arts and Sciences for ARRI products over the years. ARRI is also proud that at the same ceremony, on February 11th, Carl Zeiss design engineer Uwe Weber and his late colleague Dr. Jürgen Noffke were honored with a Scientific and Engineering Award (Academy Plaque) for the mechanical and optical design of the Master Prime lenses, a joint development by Carl Zeiss and ARRI.

Tune in for the televised Oscar ceremony on February 26th to view portions of the Scientific and Technical Awards presentation.

Running Final Cut Pro on a PC with Windows

UPDATE: I’ve got some bad news for Windows fans who were hoping Final Cut Pro would run on a Windows operating system.  With the introduction of Final Cut Pro X, it’s unlikely you will ever see a version that will run natively in Windows.  Apple has rewritten FCP using more than just modern coding techniques like 64-bit programming.  The new Final Cut Pro X is built on technologies exclusive to Apple’s Mac OS X operating system.

If you’re committed to editing on a Windows machine, Adobe Premiere is the most direct alternative to Final Cut Pro.  Avid Media Composer also runs on Windows.  It’s popular in high-end workflows, but more expensive and more difficult to learn.  We teach Adobe Premiere and Media Composer classes for both Windows and Mac.

The good news is that moving to the most popular editing software in the industry is cheaper and easier than ever.  Even an entry-level MacBook Air ($999 at time of writing) will run FCPX, albeit slowly—and the price of Final Cut Pro has plummeted to just $299 for a license good on every Mac you own or use.  There’s even a free, full-featured trial available for your Mac if you want to test drive Mac OS and Final Cut.

Final Cut Pro WILL NOT run on Windows. However, you can still install a full copy of Windows XP / Vista or Windows 7 on any Intel Mac (that is, any Mac manufactured since 2006).  When you start up the computer, you can decide whether you want to work with Final Cut Pro in Mac OS X or just work in Windows.  In my experience, it’s actually easier to install Windows 7 on a Mac than on a PC.  How crazy is that?

As far as Windows is concerned, your Mac is a PC just like any other since it has an Intel chipset.  Theoretically, you could even delete Mac OS X and only run Windows on it.  Trust me, at that point, your Mac will have no idea that it’s a Mac.  Of course, if you delete Mac OS X, you can’t run Final Cut Pro any more, which is the reason you got the Mac in the first place!

The bottom line is…. Final Cut Studio will only run on Mac OS X (currently 10.7, “Lion”).  I honestly don’t see Apple ever releasing Final Cut Pro for Windows 7.  There are just too many variables in terms of hardware to make it worth Apple’s time.

A Mac isn’t as expensive as you might think. The majority of us can get away with a system in the $1500 to $2000 price range, including the cost of software.  I recently purchased a 6-month-old MacBook Pro for under $1000 and loaded a copy of Final Cut Pro X that I’d purchased earlier for $299.  I couldn’t be happier!  At the risk of sounding biased, it will be the best money you ever spend.

Now, the first question you must ask yourself, should you purchase a Mac Pro tower, a MacBook Air, a MacBook Pro, or an iMac?  An iMac system includes a screen and starts at $1199.  With a student discount, it’s even less.  The entry-level iMac is a great starter machine for editing.  It’s powerful, its roomy display is built-in, and it’s got bells and whistles like the Thunderbolt port that will give you some room to expand as your business grows.  It’s not as expandable as a Mac Pro tower, but by the time you bump against those limits you’ll be doing the sort of complex work that means you can afford the tower.

On the high end, a fully tricked out Mac Pro tower might easily run you $12,000–and that’s before you add broadcast monitors, an IO box, decks, and exotic peripherals. The total price could easily top $20,000 for a full-fat system, although that sort of system is absolutely overkill unless you’re doing more advanced visual effects work than Final Cut Pro X does.

Macs_FCP.gif 

If portability is a priority, a MacBook Pro might be all the system you need. If you can afford upgrades from the base models, max out the RAM and upgrade to the 7200RPM disk drive. Personally I provide freelance editing to one of the biggest entertainment companies in America with a base model MacBook Pro. It’s more than enough to accomplish most video production. The MacBook Air line can be used to run Final Cut and Motion, but their limited disk space, few ports, and missing optical drive may give you headaches as you get into larger projects.

If you’re shopping for Final Cut Pro, chances are you’re thinking about cameras as well.  The majority of cameras available today use memory cards or disk drives instead of tapes.  Go with the trend.  Disk-based formats are easier and more efficient than tape.  They involve fewer moving parts, they support higher-quality recordings, and they dramatically cut back the wait to bring your video into the computer for editing.

For the best balance of quality and price at the broad-market professional level, we really like the Sony EX1.   With that $6000 camera, a $1500 laptop, and $300 worth of software, you have everything you need to produce top-quality video.  And with any Final Cut Pro editing system the only additional hardware that you truly need is external storage. This will allow you to keep your media/project folder on a separate drive from the one running the OS & Final Cut, which will improve both system responsiveness & versatility.

If you’re after a cheaper camera solution, consider the Canon EOS 5D DSLR that has taken the professional production world by storm.  This camera, available in kits with body and lens for under $2000, is first and foremost a still camera, and a fairly good one at that.  But it also records full HD video.  It’s not going to replace dedicated video cameras for serious work, but the 5D is an affordable and useful camera to have in your arsenal for that glossy work.

Our production pros teach both the EX-1 and the 5D one-on-one with you at your studio or business with our on-site training and consulting.

But back to Final Cut Pro!  GeniusDV specializes in training a contemporary Final Cut Studio workflow. Click here if you are interested in receiving Final Cut Studio training.

For those who are bound and determined to install Final Cut Pro on a PC running Windows, I’ve actually seen hacks using a Mac OS X emulator with Final Cut Pro installed.  However, trust me on this….. it wasn’t anywhere close to functional in a real-world environment.

Finally, there is one other way to run Final Cut Pro on a machine running Windows…

Adobe Premiere Pro CS5.5 (5.5.1) update: bug fixes, including some for Mac OSX v10.7 (Lion) compatibility

Sept 12, 2011, the Adobe Premiere Pro CS5.5 (5.5.1) update was released.

Ideally, you should install this update by choosing Help > Updates.

However, if you need to download the update packages manually, you can do so from the download pages for Windows or Mac OS, using the “Adobe Premiere Pro CS5.5 5.5.1 update” link. You must choose the correct patcher based on your original installation type—electronic download or DVD.

If you have difficulty with this update, please bring questions and issues to the Adobe Premiere Pro forum. Don’t ask questions in the comments on this blog post, which fewer people will see.

You should also install updates for your other applications while you’re at it.

Note: If you have installed the RED Epic importer plug-in from Adobe Labs, the Premiere Pro CS5.5 (5.5.1) update will overwrite it with the built-in RED importer plug-in. To restore the functionality of the RED Epic importer, just re-install the RED Epic importer plug-in after installing the Premiere Pro CS5.5 (5.5.1) update.


bug fixes


There are a lot of bug fixes in this update.Note that we were able to find and fix a lot of these problems because of the great feedback that we get through bug reports and crash reports.

Here’s list of the significant bugs fixed in this update:

  • Improved playback/scrubbing performance of footage from DSLR cameras.
  • Media from Avid Unity QuickTime reference files was not imported.
  • XML project files created by Premiere Pro did not work with DaVinci Resolve.
  • On Mac OSX v10.7 (Lion), the Universal Counting Leader was missing countdown numbers.
  • On Mac OSX v10.7 (Lion), Premiere Pro would crash when quitting.
  • Preview in the Capture panel was not functioning properly for HDV footage.
  • Image sequences lost their frame rates.
  • Edges of a clip were highlighted during transitions/dissolves when using CUDA processing.
  • Projects created by importing Final Cut Pro XML projects that contain multiple mono clips would lose some audio when the project was closed and reopened.
  • Exporting to a QuickTime movie using DVCPRO HD settings would not complete under some circumstances, including if an image, graphic, or synthetic element was in the sequence.
  • Using CUDA-accelerated Invert effect would reposition the clip.
  • Premiere Pro could not find files after changing the location of the project.
  • If an After Effects composition with a background color other than black was included in a sequence and Mercury Playback GPU Acceleration was enabled, the alpha channel transparency of the composition was ignored.
  • MXF files created by Premiere Pro were not readable by Sony XDCAM HD decks, Final Cut Pro, or Avid Media Composer.
  • ProRes files created by an ATOMOS device with four tracks of audio were not imported correctly.
  • MCC closed caption files exported from MacCaption failed to appear in the Premiere Pro Program Monitor under some conditions.
  • Incorrect data was being written to XML files for AVC Intra exports.
  • Opacity effects were being ignored after a second transition when CUDA processing (Mercury Playback Engine GPU Acceleration) was enabled.
  • Premiere Pro would hang or crash when loading a merged clip with disabled audio channels.
  • various other crashes

other software updates known to address problems with Premiere Pro


We have also been working with several providers of plug-ins, codecs, and hardware devices (such as Cineform, AJA, Nvidia, and BlackMagic) to assist them in updating their software to fix some errors and crashes. Please take this opportunity to download and install updated codecs, plug-ins, and drivers from these providers, as relevant to your work.


known issues


  • On Mac OSX v10.7 (Lion), eyedroppers do not behave correctly in Premiere Pro CS5.5 with the 5.5.1 update installed.
  • On Mac OSX v10.6 (Snow Leopard) and v10.7 (Lion), in Premiere Pro CS5.5 with the 5.5.1 update installed, closed captions are not shown in the correct position in the Program Monitor—and are often not visible because they are drawn offscreen. Output of closed captions is not affected; this bug only applies to preview in the Program Monitor.
  • Possible hang on start if firewall or other software (such as ZoneAlarm or FileMaker) blocks communication between Premiere Pro and related components. (See this Technical Support document for more information and solutions.)

ARRI ALEXA Camera Overview

ARRI ALEXA Camera Overview

ARRI ALEXA Camera Overview

Main Features

  • Film-like, organic look
    • extended, clean highlights
    • extremely low noise floor
    • natural skin tones
    • excellent color separation
    • cinematic depth of field
  • Wide exposure latitude of 14 stops
  • EI 800 base sensitivity (EI 160 to EI 3200)
  • Sharp, natural images for 2K and HD
  • Multiple output options
    • ProRes, ARRIRAW and HD-SDI
    • Log C, Rec 709 or DCI P3
    • ARRI Look Files for custom looks
    • audio recording
    • integrated rich metadata
  • Apple ProRes
    • on-board file-based recording
    • onto SxS PRO cards
    • all five Apple ProRes codecs
    • same codec as FCP uses: Shoot > Edit
  • ARRIRAW
    • best format for 2K deliverables
    • best quality for VFX productions
    • greatest flexibility in post
    • best option for archiving
  • HD-SDI
    • integrates into existing HD infrastructures
    • configurable HD-SDI outputs
  • Rugged and reliable
  • Simple and safe operation
  • Well balanced, ergonomic design
  • Carefully considered details
  • Precision sync for 3D
  • Powerful assistive displays, including
    • surround view
    • false color exposure check
    • peaking focus check
    • compare stored image with live image
    • electronic level
    • RETURN IN video
    • optional anamorphic de-squeeze
  • Compatible with existing accessories
  • Worldwide ARRI service network
  • Compatibility with industry standards
    • PL mount lenses
    • HD-SDI, ProRes, SxS PRO cards
    • Gold mount or V-lock on-board batteries
    • 12 or 24 V power inputs and outputs
    • support for cmotion cvolution lens control systems
    • support for third party on-board recorders
    • support for ARRIRAW by third party post tools
  • Numerous upgrade options
    • upgradable Storage Interface Module
    • upgradable Electronics Interface Module
    • Exchangeable Lens Mount (ELM)
    • easy and powerful free software updates
    • new features through purchase of license