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NAB 2013: Adobe Introduces Adobe Anywhere

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CreativeCOW presents NAB 2013: Adobe Introduces Adobe Anywhere -- NAB Expo Editorial


Santa Monica California USA

©2013 CreativeCOW.net. All rights reserved.


At NAB 2013, Adobe is introducing Adobe Anywhere, a collaborative workflow platform that centralizes projects and allows users to share and change project files. Also new are some powerful new features for Adobe Premiere Pro, including color grading and the ability to "link & locate" clips. A newly designed SpeedGrade also makes color grading tools more familiar to Adobe toolset users, and After Effects celebrates its 20th anniversary.



Adobe Director of Video Product Management Bill Roberts
Adobe Director of Video Product Management Bill Roberts
Adobe is bringing its A game to NAB 2013, with the introduction of Adobe Anywhere and new features in Premiere Pro, After Effects, Audition, Prelude, SpeedGrade and Story. At a pre-NAB briefing in San Jose, Adobe Director of Video Product Management Bill Roberts puts all these changes in context of "three vectors of transformation" going on in the industry: the network as platform, and the explosion of capture and delivery. "You can get your content from any device," he says. "We think that's huge for content creators. Who doesn't have an HD-capture phone in their pockets? In this environment, we need pervasive, cost effective tools." He pointed to the fact that both the BBC and NBC turned to Adobe's primetime solution for streaming at last year's Olympics. "People can dig into more detail with their secondary apps," he says. "The monetization strategies are starting to make sense."

At NAB 2013 (Booth SL3910), says Roberts, Adobe will "reveal the next generation of video." "We've got 'plan to playback' with best of breed products that tie into a task for every workflow," he adds, introducing the new features of the products that make up Adobe's Creative Suite.

Adobe Anywhere for video is described as "a modern, collaborative workflow platform that empowers teams using Adobe professional video tools to work together accessing and managing centralized media and assets across virtually any network. "It's all about collaboration, or a deep view from within the application, sharing the same project file with instant handoff and versioning," says Adobe Anywhere Product Manager Michael Coleman, describing the three key areas for the new product. "Work Anywhere (LAN & WAN via VPN) means the user can work without proxy files through the network, with the high-res media always dynamic and always there. Third, the user has accessibility to Adobe's familiar creative tools through Creative Cloud, which means ease of use, minimal training required, as well as integration with existing infrastructure."

Adobe Anywhere ties together Mercury Streaming Engine and Collaboration Hub and, says Coleman "dissolves the boundaries between project files, turning projects into an uber project on steroids - multi-user, multi-application." "If you already know Prelude or Premiere Pro, you pretty much know what you need to know to work collaboratively," he says. "It's the same skills and interfaces. You create an Anywhere Production like a project file at work and add whoever you want."

"Most people can't tell the difference between a local file and a remote file, because the performance is so good," he adds. "I've done this with a Mac Book Air playing back RED 4K playback. There's compression on the transport stream, but it looks really good and it's not lower resolution."

Video professionals in North America will be able, up until April 19, to join Adobe Creative Cloud for $29.99 a month for the first year, 40 percent off the regular annual membership price.



PREMIERE PRO

Premiere Pro
Premiere Pro. Click image for larger view.


Adobe Premiere Pro features five top features: editing finesse; link & locate; Lumetri Deep Color Engine; audio enhancements; and closed captioning improvements. Product Manager Al Mooney notes that, as an increasing number of editors use Premiere Pro, Adobe has been asked for new and enhanced features. "With great power comes great responsibility," he jokes. One of those key improvements was a response to issues of "editing finesse," or what Mooney describes as "anything that takes you out of the zone."

"There are now hundreds of new keyboard shortcuts," he says. "We've redesigned the timeline to be cleaner. The key thing we've tried to do is present important information to editors so they don't have to rummage around menus, that they can know something just by looking at it. These keyboard-driven enhancements speed up workflow, from paste attributes to customizable track headers."

Link & locate is for when some of the media has gone offline, something that happens more and more as editing is changing. "Link & locate takes the pain out of this type of media management," says Mooney. "Now you get a dialogue box with last known file; you can see what's offline and search for it. This makes it as approachable as possible."

Adobe has always placed an emphasis on color and now, with the Lumetri Deep Engine Color built into Premiere Pro, editors have the ability to work with color while editing. "It enables LUTs support from other applications," says Mooney. "In the effects panel, I have a folder for Lumetri looks, which gives the editor the ability to work with beautiful pre-set looks without leaving Premiere Pro or do any grading. It's designed to be super-simple: just apply a look. We'll add to these looks over time, and you can build your own library of looks."

Audio has been one of the "potential hiccups" when moving from FCP," says Mooney. "We now have a bunch of new effects built into Premiere Pro, such as a new clip mixer for clip-by-clip control, new audio effects host and support for 3rd party control surfaces," he says. Closed captioning is also easier, with the new ability to let editors do full caption editing. "It's not a full caption creation system but it's import, edit and export," says Mooney. "You can slip-sync, change position, color, and so on."

Adobe Anywhere integration means the users can collaborate and share media and sequences from anywhere, as long as they have Internet connection. Also new is support for more GPUs including Open CL and CUDA for accelerated export times and GPU-accelerated 3rd party effects and transitions.

How about Premiere Pro Lite for the iPad? Not any time soon, says Roberts...but don't despair. "We won't do Premiere Pro on a tablet because it's a different interface," he says. "But is Adobe interested in tablets? Darn right, we are. We've reached the tipping point, but we think it is a different experience. Things that make a desktop app shine are not the things that make a tablet app shine. And that's all I'm going to say."



PRELUDE

Adobe Prelude
Prelude. Click image for larger view.


Prelude is Adobe's ingest and logging tool for file-based camera material, enabling the user an easy interface to bring material in, organize, log it and add metadata. Prelude Product Manager Wes Plate noted the new features for NAB 2013: "Hover-scrub thumbnails, introduced in CS6, have now been added to Prelude," he says. "You can hover over a clip and see what's there, without having to open it up in the timeline." The ability to create presets at ingest is an easier process that makes the files easier to search. "People want the ability to rename files as they come into ingest because the file names from the camera may not be meaningful and may be repetitive," explains Plate. "You can also define the information you want collected and applied to the ingested clips."

A new read-only view into the Story account allows the user to turn scripts into searchable metadata. "Accuracy from audio files aren't always so good, so the script gives the analysis engine something else to analyze and increases accuracy," says Plate. "You can then send it to Premiere Pro, which shows the text and then find words. If you search a specific word...and it brings the playhead to the quote you want and then drag it into a sequence. It helps you find clips really easily." Another feature, the Prelude Live Logger app for iPad (which will ship Q3 2013), lets the user log footage on the iPad.



SPEEDGRADE

Adobe Speedgrade now has a completely redesigned user interface, says Senior Product Manager Patrick Palmer, who joined Adobe through the acquisition of Iridas. "We've added all the things that people like and what they used the most in terms of organizing the work, so we have an entirely new UI that will be familiar to Premiere Pro users," he says.

Integration with the Adobe workflow means that users can now load native SpeedGrade looks in Adobe Premiere Pro, as well as drag EDLs from Adobe Premiere Pro onto the SpeedGrade timeline for finishing projects. Shot Matcher enables a one-click match for material shot with different cameras or under different lighting conditions.

Mercury Transmit enables the addition of a second display, using selected SDI-Out video cards to provide accurate reference monitoring while color grading. "We noticed lots of people are at least occasionally working on mobile workstations or laptops with smaller screen sizes," says Palmer. "We customized the look section so you can see dozens of looks and the dedicated monitor can scale appropriately. And we came up with a flexible scope lay-out as well."

Palmer also mentioned that SpeedGrade supports numerous ways of working, including with mouse and keyboard, tablet, trackball, or Tangent control surface, including Tangent Element. Layer-based grading lets the user customize grading layer names to organize complex grades while crafting looks, and a new Continuity Checker spots color discrepancies.



AFTER EFFECTS

After Effects
After Effects. Click image for larger view.


After Effects is celebrating its 20th year as a major Adobe creative tool and numerous features have been added, says Senior Product Manager of VFX Steve Ford. "CS6 for After Effects was huge," he says. "We introduced several significant key features; it was the biggest release of AE in 10 years.

This year, Adobe After Effects introduces a Refine Edge tool, Warp Stabilizer VFX and Pixel Motion Blur. But the bigger news is a strategic alliance between Adobe and Maxon. "After Effects artists use more and more 3D and they love Cinema 4D," says Ford. "Maxon and Adobe got together to work together to design a link between the two companies. Maxon's Cineware lets you control the render process in AE, for performance. This changes the pipeline entirely; you render once out of AE and that's it. Integration is so tight that you can make many more decisions than before."



STORY

Adobe Story has had eight updates over the course of the year and numbers approximately 150,000 users. "We're cracking into high-end post pipelines," says Adobe Senior Business Development Manager Sebastian DiStefano. "We've made this as easy as possible so you can bring transcripts into the system that creates a framework that drives the workflow."

Now Story Plus adds many new features requested by users, including the ability to work offline or online; industry standard formatting with auto-completion; and customizable as well s pre-designed script templates. Scene-based tagging is one of the biggest requests Adobe has had, says DiStefano, so "people can connect ideas before they have a script." Now manual and automatic tagging lets users prepare a script for production with either easy manual or auto tagging for production elements such as props and sound effects.

Other new features include automatic shooting script creation; permission assignments for projects, enabling producers or filmmakers to control whether various team members can read, add comments, or modify the scripts, schedules, reports, and other documents in a project; and synchronization between the evolving script and the production's schedule.

"This is your virtual script board," says DiStefano. "It's truly a collaborative pre-production process." He also reports that Adobe is turning this into a Software As a Service offering, initially for European users that want scheduling.

A subscription to Story Plus is $999 standalone, or $49.99 a month with Creative Cloud, which includes Story Pro. There is a web-only free version but that does not offer any offline applications or the feature set available in Story Plus.



AUDITION

Adobe Audition
Audition. Click image for larger view.


Adobe Audition has been known for years as "an incredible tool that borrows a lot from Photoshop," says Senior Solutions Architect of Pro Video Colin Smith. "It's always been able to take out sound blemishes. But we have a new feature -- sound remover -- to take out anything that reoccurs without selecting each instance of it." I witnessed this tool first hand, and saw Smith display the spectral frequency of the clip and then use paintbrush tools to quickly paint out a recurring sound. "Although the police siren occurs multiple times, I can just select one cycle of it, and it's smart enough to go in there and get it out every other time," he says.

"The most difficult sound to get rid of is a microphone in the wind because it's a broadband sound and it's all over the map," he says. "This tool can. Nothing else that touches the noise reduction/sound restoration tools here. Forensics and the military use this tool."

Other features include a preview editor; enhanced multi-track editing; sound design tools to warp, filter, and blend audio; audio finesse workflow refinements, including new shortcuts and faster navigation tools; and 64-bit performance.



Conclusion "We've ended up delivering more technology this cycle than we expected," admits Roberts. Nobody's complaining now, and they won't be complaining at NAB 2013 either when they can finally get their hands on the new and improved toolset.

The trend is towards the cloud and integrated work environments, and we'll see many companies at NAB make the same play. Adobe's move into the space is compelling because its familiar and powerful toolset is already much in use in the industry. Roberts also notes that "gigabit/second connectivity is becoming real," and that Adobe is building for what's coming. Being prepared isn't just a rule for Boy Scouts and it applies to our industry more than ever before.






Follow Debra Kaufman on Twitter @MobilizedDebra for more great articles and NAB coverage.


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#Duncan Macdonald
by Debra Kaufman
Hello Duncan -- You are not alone in being concerned about Adobe moving its software to the cloud. I think they're pretty serious about moving this forward, but you're right that it won't suit everyone. THis is a topic I hope to revisit with Adobe in the not-so-distant future.
@Debra Kaufman
by Duncan Macdonald
It's true Adobe is being serious in moving everyone to the cloud. I'm wondering if users are stubborn enough (as I am) to use alternative products they can upgrade in their own time and sacrifice or find alternative features to the ones they've grown used to having.

An example of this is Adobe inDesign 5.5 being sold as a upgrade from version 5.0, I always thought it was an industry standard that incremental increases were free updates and whole number upgrades were paid versions.

When I asked Adobe Australia about this they claimed it was an "adjustment" to bring CS products into the same upgrade path. The only difference I can find is total backward file incompatibility between versions.

If they start this with motion editing it will only justify my move to Vegas last year.
@Duncan Macdonald
by Debra Kaufman
Adobe got to where they are by responding to customers, so I doubt they'll stop now. I know that there is a certain amount of grumbling online about the move to the cloud. Hey, how many years did it take us to transition to HD? The folks at Adobe I am sure understand that it's not an overnight switch for many people.
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by Duncan Macdonald
As a Australian stuck with ADSL2 bandwidth and living in a city which is not on the list for National Broadband network fiber links, all this discussion of working in the cloud and joining Adobe's on-line system for software use is just pie in the sky.

The biggest single issue I have as an outdoor camera operator is background noise... Wind, sirens, coughing by on-lookers and children entering the recording area. Having access to after effects and other cloud based software isn't going to happen for my company in my lifetime. Great reading just the same.

At least I know now what is going to cause me headaches in the future as I try to compete with those rivals who have it all so-to-speak.

--
With film it was all about camera skills. Now its about who has the best software lineup for correcting in post.
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by Brian Cooney
Any idea when the upgrades will be available? CS7?

MotionFoundry, Inc. Video Post
Clients: GM, AOL, Kohl's, 3 Doors Down, IKEA, Kelloggs, Toyota, Thomas Nelson, NASCAR Affiliates
@Brian Cooney
by Debra Kaufman
Hello Brian -- A VERY interesting question. When I was at Adobe headquarters just prior to NAB, several journalists (myself included) asked if this was CS7 or CS6.5...we were told that Adobe is still thinking about that. I expected to see a big reveal at NAB 2013- but apparently not. Stay tuned for more info on what Adobe is up to.
+1
@Debra Kaufman
by Brian Cooney
Thanks Debra! PPRO updates sound great.

MotionFoundry, Inc. Video Post
Clients: GM, AOL, Kohl's, 3 Doors Down, IKEA, Kelloggs, Toyota, Thomas Nelson, NASCAR Affiliates
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by mikael Bellina
Speedgrade looks in Adobe Premiere Pro, so nice ...

Having the entire timeline in speedgrade would have been better i think, because if you have thousands of shot, use a look for each and load in premiere is I think annoying.

I would love somethink in realtime between the two apps. But I'm sure it will come....

Very impatient to see video demonstration of the all new features....!!
+1
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by Joseph W. Bourke
Mikael -

Here's a number of video rundowns of what they're willing to show at this point:
http://success.adobe.com/en/na/programs/events/1303_30759_nab.html?sdid=KEY...

Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by mikael Bellina
Hi,

Joe Thanks, I found this link few minutes after... I watched all of them, sound very promising !!! About the integration with speedgrade, it's I think a big improvment but still not perfect enough... But it takes times, it's a new software in the suite, I'll prefer to use speedgrade instead of Davinci Resolve because the learning curve is easier ...

So much feature, will it be a CS6.5 ?

Mikaƫl
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by Victor Perez
Like the new changes/features. Thanks for the link Joseph.

Victor
editvictor.com
http://www.hbhm.tv
http://www.itvisus.com
@mikael Bellina
by Kevin Monahan
Here's the feature request form: http://www.adobe.com/go/wish

Kevin Monahan
Social Support Lead
Adobe After Effects
Adobe Premiere Pro
Adobe Systems, Inc.
Follow Me on Twitter!
Re: NAB 2013: Adobe Introduces Adobe Anywhere
by Chris Harlan
This all sounds quite good. Any theoretical release date?


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