Join Ashley Kennedy for an in-depth discussion in this video What's new in Premiere Pro CC v. 10.3? (June 2016), part of Premiere Pro CC Essential Training (2015).
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- [Voiceover] In this movie we're going to talk about the June 2016 update for Premiere Pro, otherwise known as version 10.3, also referred to as the 2015 dot 3 release, and also codeworded as the Blue Fox update. In this update movie we'll just be covering the updates that are applicable to the features covered within this Essential Training course so this movie is mostly for people who already have a basic knowledge of working in Premiere Pro maybe they've already taken some or all of the Essential Training course and just need a quick rundown of some of the things that have changed.
If you'd like an exhaustive rundown of everything that's new in this update you can check out Rich Harrington's Premiere Pro Creative Cloud updates course in the lynda.com library. And, just so you're aware, for some of the bigger update topics that are applicable to the Essential Training I'll be putting in additional movies within the body of this course and you'll be able to find them because they'll say 10.3 in the title and will be labeled with the word "new". So, first up let's talk about some improvements in the proxy workflow.
Bottom line you can now generate proxies, or lower resolution copies of your media, on ingest. This means that during the import process you can direct Premiere Pro to copy media at a lower resolution to a specific location. Conveniently, however, you can begin editing with your files right away even while the proxy media is generated in the background and because the proxy media is automatically associated with your native full res media all you have to do is click a button to toggle between full res and proxy.
So I'll show you this briefly right now and I'll go through the process and much more detail in the inserted updated movie within Chapter 3 of this course. Alright, so first I want to show you an important new setting if you go to file and then project settings and then Ingest settings, you wanna come up here. And this is where you can tell Premier what you want to happen to your media when it gets imported. So right now nothing is happening it's doing what it has always done which is to just the link to wherever your files are located but when I click on Ingest I can choose exactly what happens to that media.
So if I take a look in this list I can either copy it, transcode it, create proxies, or copy it and create proxies. Because I want to talk about the proxy workflow I'll choose Create Proxies here, and then here I'm able to choose the exact preset for the resolution of my proxy files. And then down here I choose where those proxy files are going to live, alright? So right now it says same as project but I can choose another destination including a Creative Cloud file. So if I choose this my proxy files are accessible to me no matter what system I'm on.
So I'm creating proxies I've chosen my preset and my destination, I'll say OK, and now I'll just simply import some files. So I'm just gonna right-click and choose import. And I'll just import a couple files although you could bring in all your files at once this way. So I'll just grab my first two files here and import. And automatically they come into Premiere Pro. It doesn't seem like anything is happening but it's actually happening over in Adobe Media Encoder, you can see that it's automatically launched and it's automatically creating those proxies.
So if I go go back over to Premiere Pro, I'm going to just show you where this is pointing to. I'll right-click and choose Reveal in Finder. And it's still pointing to my actual media file within my exercise files folder. To point to my proxy files I just go to another setting and that is in Premiere Pro, Preferences, and then Media, and I choose Enable proxies. And I'll say OK and let's go ahead and check this out now.
I right-click and choose Reveal in Finder. It's now looking at Creative Cloud files and then there's my proxy file. Now, to make it easy in going back and forth between your proxy media and your original media you want to map something to your keyboard, so I'm gonna go to Premiere Pro and Keyboard Shortcuts and it's called Toggle Proxies. Just type in proxies, there it is. And let's assign this to Option Command P and OK.
Okay and if I load this now in the source monitor this is now the proxy media and I press Command Option P and this is my full res media. Alright, so I'll just check this, right-click and Reveal in Finder, we're back at full res and then another Command Option P will get me back to my proxy media, alright? So a very easy way to toggle back and forth between different versions of your files with a single click. Again will go into this in a little bit more detail in chapter 3. Next, I wanna show you some of the exciting improvements in the Lumetri Color toolset, I'm gonna open that now, right here, Lumetri Color, and there is a new category called HSL Secondary and this allows us to perform a secondary color correction right within the Lumetri Color toolset.
Secondary color correction lets you select a color range of colors and manipulate that specific range however you like. I'll briefly show you a bit about this now and I'll get into much more detail in the update movie inserted in chapter 12 in this course. So the first thing you need to do when performing secondary color correction is to select the color that you want to affect, so let's just say that I would like to make this grass and the bushes a little bit greener. So I'm going to just select the clip and then come up here to my Key color, to affect the green I can either select green right here or I can actually use my eye dropper.
Which is what I like to do, so I'm going to set color, and grab my greens and if there's a wide range of greens you can add color to add to that spectrum. So I'll get some of the darker greens back here and you want to take a look at exactly what's been affected you can click on this box, Color/Gray, and so all of the green areas are the areas that are being affected. You can come into the hue saturation and luminance sliders to adjust this so if you need to hone in a little bit more you certainly can, just drag the sliders and get it exactly how you want, alright I don't want any more of the dog there.
I think saturation and adjust that a little bit. And a little bit on my luminance as well. Alright so I've isolated the greens how I want and I'm just gonna come down and from Correction down is how you actually manipulate that color. So you can either use a single color wheel, or three color wheels - Midtones, Shadows, and Highlights. I'm just gonna go to my single color wheel and then bump up my greens like so, alright? You can see they're already popping a lot more and maybe I wanna also bump up my saturation a little bit as well.
Okay and here is the before and after on that secondary color correction. Again I will go into this and a lot more detail in chapter 12 but that was just a brief adjustment on HSL Secondaries. Next, I wanna touch on just a few editing and navigation improvements. First there's the new Zoom to Frame command. I'm just gonna close this panel and I'm gonna come down to my Timeline here. Zoom to Frame is going to allow me to automatically zoom in to the frame level at the playhead location.
So it's not mapped to the keyboard by default, but if I come up to Keyboard Shortcuts and I'll just type in zoom, there it is, Zoom to Frame, and I think I'm gonna map that to Option Backslash, and OK. And so, now if I press Option Backslash it's going to zoom in and if I press it again it's going zoom out at the previously zoomed level, okay? So if I zoom way out and then press Option Backslash, and then press it again it's going to go out to that level, okay? So whatever level you're at is gonna be the level that it zooms to, I'll Zoom to Frame and zoom back, and you can see how that works.
There were also some improvements in the way we deal with keyframes. Here is a list of all of the keyframe related commands that were added in this release, so quite a lot. None of them have actually been mapped to the keyboard so you'll have to do that on your own and I'm not gonna demonstrate all of these right now but if you want to go ahead and map any of these to your keyboard and begin incorporating them into your effects workflow you can. So I'll just do two of these for right now. I think I'm gonna do Move Video Keyframe 10 Frames earlier and 10 Frames later, so let's go ahead and map that.
Keyboard Shortcuts, and I'm just gonna type in keyframe. These are basically all of the commands that were added in this release and here's what I want. So I'm gonna just map this to Option Command - and I'm gonna map this one to Option Command . So I'll say OK. And let's go ahead and go to the very first clip here. And I've just placed a couple of keyframes. I'll go to my Effect Controls panel and I have a Gaussian Blur applied and I have a couple of keyframes here, so let's just make the first keyframe be very blurry, okay, and it's gradually deblurring as it goes on, so I'm just going to select this keyframe and just move it to the left and to the right by 10 frames.
I'll do Option Command - and I'm moving that keyframe 10 frames earlier and Option Command and I'm moving it 10 frames later. This is a very simple example but these keyboard shortcuts can get a lot more useful when you're setting up more complex animations with many different effects working together, I'll give you one more look at this list, so that you can see all of the updated keyframe capabilities in this release. So, lastly I just want to go over one useful thing about effect management, prior to this version of Premiere Pro you weren't able to remove individual video effect parameters from your clips en masse but now you can.
So I have a few shots here that have several effects applied to them. I want you actually remove the black and white effect from each of these. So I'm just going to select these and then right-click and choose Remove Attributes, okay, so this is a new. I'm going to select this and then I can dial into exactly which effects I want to remove so I just want to remove the Black and White, I'll go ahead and uncheck everything else. And say OK and now we've done that to all of the clips that were selected, alright, this may not seem super impressive at this time but it really can save you a lot of time because prior to this release unless you were removing absolutely every effect from these clips you had to perform this type of operation on a clip by clip basis which could be pretty time consuming.
Those are some of the new features within the 10.3 version of Premiere Pro released in June 2016. Again for more in-depth exploration of all of these updated features including some really exciting information on working with virtual reality footage and so much more check out the Premiere Pro Creative Cloud update course on lynda.com. So, now let's get on at the main part of the course.
- Editing in Premiere Pro: the fast-track approach
- Setting up a project and a sequence
- Importing and organizing media
- Marking and selecting the best takes from clips
- Performing insert, overwrite, and replace edits
- Trimming, splitting, moving, and deleting clips
- Dynamic linking and round-tripping with other Creative Cloud apps
- Audio editing and mixing
- Recording voice-overs
- Applying transitions, effects, and filters
- Changing clip speed
- Color correction
- Creating titles
- Multicam editing techniques
- Exporting your final project