Premiere Pro December 2024 (25.1) update with H.264 enhancements

Adobe’s December 3rd, 2024 update December 2024 (25.1) is out. Check out the new features.

Rounded Corner Design for timeline clips, which is neither here nor there, though can be annoying for key frames.

Enhanced H.264 performance on Apple Ailicon and Windows: Upnto 4x increase in performance on Apple Silicon and 2x performance on Windows! Always welcome! Personally I tend to recomoress H.264 to ProRES for performance, but that isn’t possible with many online working methods, so this is certainly welcome.

And these fixes:

AUDIO:

  • The audio was not imported for MXF files with 32-bit audio.
  • The Progress panel sometimes showed duplicated “Enhancing Speech” processes.
  • Newly created Audio Tracks did not respect the Solo state of other tracks.
  • Attributes would not be correctly pasted across all audio channels of a clip on the timeline.
  • Clicking on a clip badge to open the Effect Controls or Essential Sound panels would open the panels on the mouse down.
  • Premiere Pro would sometimes crash when disabling Enhance Speech during processing on nested sequences.

CAPTIONS

  • When importing a custom caption preset which was previously saved with a certain style, the “Style” option could erroneously be reset to “None“.
  • Undoing a merge of multiple captions segments would not select all segments.

‘EDITING

  • The Time Ruler Numbers option for Timeline was disabled, and the shortcut did not work.
  • Some EDLs would fail to import.
  • The Progress Sheet was not docked with other panels when opened from the Windows menu.
  • Premiere Pro would hang when exporting some projects to XML.
  • Get Media File Properties for > Selectionwas disabled for Timeline clips.
  • Option or Alt + mouse wheel would not zoom the Timeline based on the cursor location.
  • Scaling below 50% of a still image in a timeline, when played in non-high quality, half or quarter resolution, could cause the image position to shift.

EFFECTS

  • Applying Morph Cut via an Adjustment Layer could cause a crash.
  • Crash observed when opening Old Premiere Pro (22.x) project containing Morph Cuteffect.
  • Some projects using the Morph Cuttransition could crash when using the GPU-accelerated renderer.

FORMATS

  • Observed artifacts during reverse playback of AVC Long GOP MXF media.
  • [Regression 24.4] Adaptive bit rate presets (High/Medium/low) under the video setting were showing the same bit rate during Export.
  • Disabling the hardware-accelerated decode preference did not work for ProRes media—playback would still use hardware acceleration with this option disabled.

MARKERS

  • Duplicate Frame Markers were not displayed on clips at minimum track height.
  • Duplicate Frame Marker colors could be out of order.
  • Delete gap in Timeline could result in Duplicate Frame Markers disappearing from other clips equal to the duration of the deleted Timeline.
  • When you drag a clip to the Timeline, different clips may have the same Duplicate Frame Marker color until you force update.
  • Duplicate frame indicators, clip markers, and clip ends could jitter when the timeline is scrolled while playing.

TEAM PROJECTS

  • Read-only sequences from Media Browserallowed changes to be made.

TEXT-BASED EDITING

  • Clip markers could sometimes not show or be added to audio-only clips in the Transcript tab of the Text panel.
  • With a project set to Read Only, it could be possible to drag markers in the Text panel’s Transcript.
  • Importing a corrected transcript could result in a timecode mismatch.
  • When working with English transcripts, the first word of a sentence could erroneously start with a lowercase letter.

Adobe MAX Sneaks 2024 ProjectSuperSonic AI audio creation

This is huge and going to be a major game changer, so Adobe you had better put this into Premiere ASAP. Not only text to audio, but being able to record a scratch track for timing!

Honestly as a commercial and direct response editor I have seen less and less put into audio. I used to at least have a mixer to do an nice mix, but especially since the pandemic I have also had to do a mix (and while audio is not my thing I have become much better at it) but being able to add sound like this so quickly will certainly bring projects to another level.

VideoRevealed’s best features of Adobe Premiere Pro

From VideoRevealed on YouTube.

I too love the customization of Premiere Pro. I love how you can do it exactly how you want to do it.

Honestly it is what I dislike so much about Final Citizen Pro, it forces you to work only how they want you to work and I feel like an engineer made the choices instead of an editor. And even AVId is not nearly as customizable as Premiere.

What’s New in Premiere Pro (Beta)

And a little more depth on the updated context sensitive Properties Panel that lets you make some changes to multiple clips at once (which is so very exciting).

The color management system is very exciting, and I glad Premiere will take an active role in your color management much like DaVinci Resolve’s Color Managed or ACES workflows, though I do hope it works better than the ARRI AMIRA plug in that was forced on us so long ago.

You can actually read about the Color Management System in the user manual from the previous August 16th, 2024 update, though the manual does not seem to have been updated to the latest and new Properties panel.

And any ProRES acceleration is always welcome, always! I just want some Black Magic acceleration as well!

Dramatically updated Color Management in Premiere Pro Beta

Adobe Announced in their Beta Community, a dramatically updated Color Management in the latest Premiere Pro Beta. This one sounds absolutely huge and is something we have all been clamoring for for a long time!

Here is what has changed.

  • Each sequence’s color management is easily configurable in the Sequence controls of the Settings tab of the Lumetri panel. By default, color management works similarly to the Premiere Pro color workflows you’re already used to when using the default Direct Rec.709 (SDR) preset. Alternately, you can choose to use one of our wide-gamut color processing presets to maximize the image quality of all grading and timeline effects when using wide-gamut or wide-latitude source media. Regardless of how you choose to work, Lumetri and other effects have been made color space aware, so they work well in any preset.
  • Users who don’t want to use automated color management can now turn it off from within the same Color Setup menu. This is useful for pass-through workflows when you don’t want the color space of media being processed at all, or when engaging in traditional display-referred grading workflows using LUTs and manual adjustments.
  • Premiere Pro now automatically color manages camera raw media, including Apple, ARRI, Canon, RED, and Sony raw media formats. As long as color management is enabled, raw clips will be automatically processed.
  • The Override Media Color Space menu has been expanded to support even more color spaces for more cameras and formats, making it easier than ever to color manage media that were either recorded or transcoded to standard file formats such as QuickTime and MXF, without needing to track down the right input LUT.
  • For clips you don’t want to be automatically color managed, a new Preserve RGB setting in the Color tab of the Modify Clip dialog prevents input to working color space conversions, allowing you to manually convert clips either using LUTs or manual filter adjustments.
  • Program Monitor, Video Scopes, Transmit, and Media Export all output the image as it appears after conversion to a new Output Color Space setting. While the working color space lets you choose how media is processed, the Output color space lets you choose the specific color space you want to monitor (SDR, HDR PQ, or HLG) and deliver your program to. This guarantees that the working color space never needs to be changed, while making it easy to change color spaces at any time to create multiple deliverables using the same grade (e.g., delivering both HDR and SDR versions of the same sequence).
  • Improved tone mapping algorithms and new gamut compression settings improve quality when automatically converting wide-gamut source media to standard dynamic range. Additionally, there are now two ways  of using tone mapping, on input or on output.
  • Premiere Pro color management has been improved to enable smoother interoperability and color consistency using Dynamic Link for round-tripping color managed sequence clips between Premiere Pro and After Effects whenever you use the Replace with After Effects composition command.
  • Last, but certainly not least, if you import projects and sequences created in older versions of Premiere Pro that have grading and effects already applied, these will automatically be configured to appear the same as before, while the color management will function exactly the same as before. If you decide you want to override these legacy settings and use the new color management, you can override the custom settings the sequence was set up with and choose a different color management preset (and you can use Undo if you find this was a mistake).

Now this could be huge and no matter what is going to be a big change so I look forward to playing with this. I hope they come up with something like DaVinci Resolve has to deal with the QuickTime color shift issue, but I doubt it.