I edit a lot of spots shot with Arri, so hopefully will run into some footage from one of these soon.
I just wish that Adobe would allow us to not have the damned AMIRA Lut automatically applied, especially since it doesn’t do this for other cameras. On a pro editing system I want to control it,
Proxy Workflow Improvements with visual badges in timeline and project panel to make it clear if you are vieweing proxies, and you can now add watermarks on your proxys as you make them, and even better the default proxy setting is no ProRES instead of H.264.
For me the Proxy workflow improvements are the best thing here, though the gradients is not a bad thing. New workspaces are great, but I always build my own.
I am glad to have a creative cloud Frame.io account, and have been using Frame allot at work. I still think the direct from camera is more for features or tv than the commercials I work on, but it is very cool.
IFrame.io’s work from home features with built in proxy generation needs better Adobe integration. It doesn’t currently work with Adobe’s proxy feature, so files must be manually relinked (and Adobe’s proxy workflow won’t work with only proxys), and if you use low rez proxies for size moves and the like don’t scale, everything would need to be redone manually. Let’s hope Adobe works on this with Frame . And I hate H264, and h264 proxies. ProRes Proxys are so much better (i know they take up more space, but they are do much better), timelines play back great with any ProRes and even with M1 ProRes processors.
Distribute objects in titles and graphics so they are equally distant from each other.
10x faster exports for 10-bit 4:2:0 HEVC on Mac OS for Intel and M1 systems.
Select HEVC from the Format drop-down under Export Settings to enable this option. Then under the Video tab, go to Encoding Settings. If the system supports hardware encoding, the Performance field is set to Hardware Encoding. Set the profile level to Main 10. Setting it to Software Encoding will disable hardware encoding, and Adobe Premiere Pro won’t use hardware to encode the media.
On Apple M1 systems, HEVC HLG 4:2:0 10-bit encoding still encodes via software.
10x faster exports for 10-bit 4:2:0 HEVC on AMD
To enable this option, select HEVC from the Format drop-down under Export Settings. Then under the Video tab, go to Encoding Settings. If the GPU card supports HW encoding, the Performance field will be set to Hardware Encoding. Set the profile level to Main 10. Setting it to Software Encoding will disable hardware encoding and Adobe Premiere Pro won’t use AMD hardware to encode the media.
Improved Quicktime screen recording playback
Smart rendering improvments
HDR Proxies
Nice, the HEVC speed icnreases sound amazing, though it is still a format that I don’t use much except for capture on my iPhone.
Paste To Same Track is the new default, which is the behavior that I want 90% of the time. I love this because I place things in specific tracks, having a very organized timeline, so I usually wants things to just go where they were in a different place in the timeline.
Old BehaviorNew Behavior
And you can also Paste Insert, as well as Paste to Target Track and Paste Insert to Target Track which can also be added to keyboard shortcuts.
