A discussion with Dave Helmly on Digital Audio Video hardware solutions for Adobe's video and audio applications. According to this I need to install Prem Pro CS6 together with my Prem Pro CC installation – to get the Encore app loaded. I have third party plugins installed in my Prem Pro CC, will they be affected by installing a second variant of the same thing – and then un-installing it? Wonder if some bright spark at Adobe might put 2 & 2 together and bring Encore into the cloud to join its brother apps, or is that too logical? I agree 100% having to Install and uninstall is a royal pain and I have made a request for a single En installer.
As for your plug-ins, those will not be effected because the install path for CS6 and CC are different.
Thanks too on the note re requesting a single En installer – will help those not technically proficient and those who hate duplicity on their OS hdd. Eric, Remember that DynLink between Premiere CC & Encore CS6 and you need that to import a timeline.
Question, does ‘adobe dynamic link’ still work with premiere pro CC and Adobe encore CS6? Adobe has released the updates to the Creative Cloud pro video tools  announced back in April at NAB, which include new features and other improvements in Premiere Pro, After Effects, Audition and Media Encoder. Adobe notes that the new release of Premiere Pro requires updating existing projects and these will not be backward compatible to earlier versions of the application.
My colleague Oliver Peters also observed that there are changes in the Lumetri LUT structure. Widely publicized at NAB and now available, Premiere Pro can create proxies at ingest, proxies once full-res footage has been imported or link footage to existing proxies. Adobe provides several presets (see screen capture) but since this is handled by Adobe Media Encoder, ingest presets can be created in Media Encoder and imported into Premiere Pro.
Alternatively, just create a new project and from the File Menu choose Project Settings -> Ingest Settings and you will come to the same dialog box as above. A significant part of this process is that Premiere Pro recognizes the resolution of the original media and scales the proxy accordingly so that the framing is identical when switching between proxy and original media. Once those proxy settings have been completed, simply import clips as you normally would do. Toggling between full-res and proxies can be done either through the menu structure or better by adding a button in the viewer window.
Adobe placed more of SpeedGrade functions within Premiere Pro leading many of us to speculate that the products may ultimately be merged. Premiere Pro can integrate with Adobe Stock, allowing browsing of Adobe Stock libraries, inclusion of a watermarked version in the project and of course, giving Adobe your money to license the image. While on the topic of color, improvements to the Lumetri scopes include a greater variety of scopes and adjustment of the intensity of display and graticles. Open Caption is now supported, a far more web friendly captioning method than conventional Closed Captioning since no decoder is required.
More control panels are supported and in an upcoming article I’ll be talking about the new Tangent Ripple panel. We’ll be discovering more about all of the CC updates over the coming days but Adobe has definitely provided a ton of new features and fixes to the production community with the latest Creative Cloud pro video updates.
In a recent What’s New in Publishing article Jim Kidwell, Senior Product Marketing Manager from Extensis, takes a closer look on how typography is trending in today’s society and what it means for publishers. What’s New in Publishing is a United Kingdom news portal focused on the Publishing industry and reports on innovative solutions; case studies and success stories relevant to publishers worldwide.

In Jim’s own words: “If you’ve been in business more than a few months, you’ve likely been building up quite a collection of fonts. Want to check out how a font or some text will work with a document or design, but don’t want to actually add it to a document? Today we’re pleased to announce that we’ve teamed up with Typefi, a leading provider of single-source automated software for print, online and mobile publishing to streamline font management in automated publishing. We will be integrating Universal Type Server’s FontLink module with Typefi’s end-to-end publishing platform, to increase efficiencies for customers and eliminate font issues that can derail the automated process in publishing workflows. One of the key challenges in the automated publishing process arises at the preproduction stage. This is where publishers want to publish their final content without errors regardless if it is for digital or print. Typefi and Extensis share the mission of making creative and publishing workflow seamless and efficient, so we’ve partnered to remove the font challenges while automating the workflow from beginning to end.
Whether the output is a PDF, or an InDesign document, whether it be print or EPub the final piece of output contains all of the fonts used without variations or substitutions.
Extensis is really excited to partner with Typefi to bring this end-to-end integrated solution to the marketplace. To make it easier to locate fonts, we’ve included a feature that allows you to locate fonts based on their similarity to others in your collection.
Fonts are seemingly innocuous pieces of software, but when treated improperly can cause big problems for you, your team, and even your entire company. The problems that fonts can cause come in many forms, from the mere embarrassment of a client, all the way up to multi-million dollar lawsuits.
Font compliance issues like these have caught many teams off guard, and it hasn’t been limited to one type of organization. Learn how to implement and use the new plug-ins for Adobe Creative Cloud and QuarkXPress in Suitcase Fusion 7.
The server has been updated with all new underlying technology that supports the latest standards, security and increases server speed. Ne répondez jamais aux e-mails dans lesquels on demande votre login et votre mot de passe! Recevez notre newsletter et restez au courant de toutes les nouveautés de J'Annonce. It’s not a quick process as we have multiple languages and OSes and all those need to be re-tested. The Premiere Pro update is called Premiere Pro 2015.3 and its icon will reflect this nomenclature. This is important to note if projects are shared between workstations; all computers working on that project must be updated.
After updating a project containing LUTs applied in the Lumetri effect, Premiere Pro will not see the LUT. The proxy creation process is handled in the background by Adobe Media Encoder, which is opened during the proxy transcode process. The most basic way is when creating a New Project to click the Ingest tab and then click the first check box.
And as yet another alternative, simply click the file in the file browser and make a proxy.
Proxy creation (or copying or transcoding as specified in ingest settings) begins in the background immediately. But the integration of secondary color correction into the NLE app itself is definitely a productivity boost for editors who now may not need to jump between applications. While not as robust as Tim Dashwood’s VR Toolbox for FxFactory, VR editing in Premiere Pro allows import from a number of different camera systems, integrates with third party VR plug-ins and exports to all popular formats of VR delivery.

He is Contributing Editor of DigitalVideo Magazine and is a frequent contributor to numerous print and web publications as well as podcasts. In the full article Jim highlights how the increasing number of fonts launched to the market daily is increasing the number of challenges publishers and designers are facing with managing their font libraries… And, how to best deal with it!
It’s at this point things can go sideways because the fonts are not available in the system.
By injecting FontLink at the backend of the production assembly line, customers will have an on-demand system to get the fonts required for each document during output processing. The average collection surpasses 4,000 fonts, and exploring a library of that size one font at a time can take a while. We’ve made it easy by creating a large number of videos that go through all of the basics of setup and use. Presidential candidates, toy manufacturers, broadcasters, publishers and creative agencies have all had serious issues with font compliance. This release improves compatibility with professional design applications, adds a report and provides support for modern back-end technologies. Once Premiere Pro is installed, you can uninstall it using the uninstaller app in the Premiere Pro Folder and uncheck Encore Cs6 and it will leave Encore installed.
The answer that Oliver discovered on the Mac is prior to updating right click on the Premiere Pro application icon, open package contents, look for Lumetri and move the LUTs out of that folder.
Proxy transcoding pauses while editing a clip so as not to divide CPU power between editing and transcoding. Locate the Toggle Proxy button and drag to the bottom of the window (where all the other buttons reside).
Ned was among the founders of the LA Final Cut Pro User Group (now LA Creative Pro User Group) and is currently president of the New York City user group Mopictive NYC. For those of us who love fonts, collecting them is often a hobby that we are unable to give up (nor should we). Currently, customers need to load up every font they may ever need to ensure the output looks as desired. FontLink in conjunction with Universal Type Server ensures there are no missing, incorrect or substituted fonts, and will only deliver exact matches for each document along that production path. I did find in initial testing working with 4K clips, that creating ProRes 422 Proxy files was such a quick process that I was not at all slowed down. Then there are options for storage location of copied, transcoded or proxy files and finally about the most important—selection of the proxy format. I use a lot of sequences in my projects to create playlists and larger interactive media experiences for Blueray.
It’s not a trivial case as we have multiple languages and OSes that would need to be tested. If you have already updated, go to your backup drive and retrieve the LUTs from your backup.
I always ended up reverting to the older manual method described here of exporting then importing the sequence.

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