Click on any phrase to play the video from that point.
[CS6]
Hi, my name is Al Mooney, and I'm the product manager for Adobe Premiere Pro.
And I'm really excited today to be able to give you an introduction
of our latest and greatest version of the software Premiere Pro CS6.
As you probably know, back in early 2010 we released CS5,
and the big news there was the Mercury Playback Engine,
a brand-new way of handling the playback of complex, affects-rich timelines,
and on any system, giving you much more power than you had before.
With 5.5, we added new editing features, but with CS6,
we're really focusing on 2 key areas.
We have the engine with Mercury, so what we wanted to do with CS6
was focus on the user interface and the experience of editing.
We've thought a great deal about the UI, how it looks,
with a real focus on the media, removing interruptions, removing noise,
removing chrome, and just giving you direct access to being creative.
And the second thing is editing, the rhythm of editing.
What does it feel like to sit down in front of Premiere Pro and cut for 14 hours a day?
We're increasingly seeing professional, fast, keyboard-driven editors
switching to this platform, and we've taken that as a real focus this time around
and made sure that they can edit comfortably and stay in that creative zone.
So, let's have a look at the user interface first of all.
As soon as you launch Premiere Pro CS6, you'll see this.
This is the completely redesigned default workspace.
We call this the 2-Up Workspace, and straightaway you can see
that you're much more engaged with your media.
We're using the whole width of the screen for the source and the program monitor,
and we've removed huge amounts of chrome and clutter and noise.
Just a few examples of that.
If you look at the source, program, and the timeline panels,
every one of those has a time ruler.
Historically, we would draw timecode values at regular positions
across the timecode ruler, and that meant that it was quite common
for you to see 30 or 40 white drawn timecode values on the screen.
Now if you need those timecode values, and you find them useful,
of course you can switch them back on just by going up to the fly-out menu
and choosing to show the time ruler numbers.
But what we've found is that most editors don't need to be seeing this all the time,
and as a result, showing them just is kind of distracting and takes you away
from your attention being squarely on the media.
Let's now go in and look at some really specific examples of the user interface
and what we've done to make working smoother, more intuitive,
and with less interruption, so I'd like to start by talking about the Project panel.
This has been completely redesigned, and again,
as soon as you look at it, you can see that it's all about the media
and much less chrome and clutter and noise.
Firstly, this is the new icon view.
Great, big, gorgeous 16 x 9 thumbnails.
But it's not just making it look big and pretty.
There's lots of functional stuff in the Project panel that's really going to
speed up and aid the creative process.
For example, we've introduced hover scrub,
so I can very easily just move my mouse over a frame
to get a very quick idea of what the media is I'm working with.
We're using as much screen real estate as you give us for the Project panel,
so a really nice feature of this is I can go full screen, and using my zoom slider at the bottom,
I can zoom right in and get big, gorgeous thumbnails, again,
with minimal clutter and chrome, really feeling engaged with the media I'm working with.
Hover scrub, of course, works in this big mode as well,
but the next thing is a kind of way of speeding up the initial rough cut
or the initial process of editing.
Hover scrub is very useful, but what we've added to the Project panel is that
you can now single click on a clip, and this gives you
this mini playhead at the bottom of the clip.
I can, of course, pick this playhead up and drag it around.
As you'd expect from a professional keyboard-driven editing application,
I can also use my J-K-L keys to move left and right.
But one of the most useful things about the new Project panel design
is that I can actually use my I and my O keys
inside my Project panel to select a range of the clip.
This means I can very quickly go ahead
and mark up multiple clips and then shift select them
and send them directly to a sequence.
Now, if I tried to do that in 5.5, what I would need to do is, of course,
double-click each clip to load it into the source monitor,
mark my range, and splice into the sequence.
You can still do that, but being able to mark those ranges directly
inside the Project panel just speeds up that initial creative process.
Now, one of the things we've heard from our customers a great deal is
I'm working with more media than ever before
with tighter deadlines than ever before, so anything we can do to
speed up the process and reduce the amount of time taken is useful.
One of the big things is it's really useful if I can see
whether or not I've used a clip.
In this day and age of tapeless media,
we're working with hundreds, thousands of files in a project,
and a quick visual indication of whether or not something is being used
is very, very helpful, so again, looking at the Project panel,
you can see in the bottom right-hand corner of these clips
we have these little orange icons.
These would be gray if the media was not used, so immediately
by seeing that the audio and video icons are orange,
I know that clip is being used somewhere.
Even more useful than that, though, is I can just single click
on those icons to be taken to or to be shown
how many sequences the clip is used in and which sequence,
and just single clicking on those sequences will take me to that clip in that sequence.
A very easy way of seeing whether or not I've used something and where.
You'll notice in the new default workspace that we've docked the media browser
in the same panel as the project, and that's in order to
give us the ability to really focus in on those source and program monitors
and have big, gorgeous video.
But one of the questions you might be asking yourself is
how do I import something from the media browser?
One of the really nice, small, but very useful features we've added with CS6
is the ability to go to the media browser, and you'll notice
we have hover scrubbing in the media browser as well,
and we can zoom in and make these thumbnails nice and big,
just like in the Project panel.
But if I want to import this clip into my project,
what I can do is just pick it up and drag it over to the tab header of that panel
and then just drop it straight in, so a very easy way of moving between panels
and making that whole importing media process very straightforward.
The media browser is, of course, the thing we use to
navigate through our tapeless media formats.
It understands tapeless media directories, and of course,
one of the most important things to remember about Premiere Pro
is our extremely broad, native media support.
No transcode, no rewrap, pretty much everything.
You can just import and play back.
We're continuing that with CS6 with new support for the AviRaw codec
and new support for Red Epic 5K footage.
All right, so let's have a look at some other areas of the user interface
and what we've done to really streamline the creative process.
Let me draw your attention to the source and program monitors.
I've already talked about the fact that they're big and that therefore
you see more video, but you might notice we've really tidied
these monitors up and reduced great swathes of gray and chrome
such that the media is the key focus.
A few examples of that include this new zoom scroll bar.
We've combined the zoom and the scroll.
It takes up a lot less screen real estate,
leaving a lot more space for the video itself.
You'll also notice the buttons are now much smaller and much clearer,
but what we find is, like I said earlier, people using Premiere Pro
are fast, keyboard-driven editors.
These are the guys who are unlikely to move the mouse over to a button
and click on it to achieve something.
If you want to be engaged with your media, you might not
want to see all these buttons at all, so one of the nice things about
the UI in Premiere Pro CS6 is that it's
extremely customizable, so you can see I can actually just
turn those transport controls completely off,
giving me even more space for my video.
But like I say, it's all about being customizable,
so a great feature of the monitors, both the source and program monitors
in 6, is this little + button in the bottom right-hand corner.
That is what we call the button editor.
This allows me as an editor
to fully customize my button row with all the things I need
and none of the things I don't, so for example,
let's say I don't want my still image export frame button on my button row.
I'm going to pick it up and just throw it away,
but let's say I do want my safe margins.
Pick them up, add them to the button row.
If I wanted loads of controls onscreen, I can have 2 rows of buttons,
and you can see that kind of just leaves an empty row at the bottom.
But being able to fully customize my button rows
is a very useful feature and really helps me to sort of customize
the user interface so I can work as I want to.
We've also ensured that in the monitors we present the most important things
more clearly than ever before, so a great example of that
is the Mercury fractional resolution control,
which in previous versions of Premiere Pro
was a little harder to find.
It was under a right click, and I had to rummage around in this big menu,
and now just like in After Effects and other Adobe applications,
that playback resolution control is right there in front of my video,
so it's really obvious where I need to go if I need to change that.
Another really big feature and a much requested feature
with Premiere Pro was full screen mode.
Now, historically, we used to call this full screen.
That's not really full screen, as you can see,
because I've still got chrome, and I've still got buttons.
Now with CS6, simply holding the Control key and using the tilde button
allows you to have what we would call cinema mode.
It's a full screen playback right there on your primary monitor,
and that was a much requested feature.
Let's have a look at some more elements of the UI.
You may have noticed while I was playing back these big, gorgeous audio meters
in the bottom right-hand corner of the screen,
now taking up all the space you can give them,
and a really nice feature of these is that they're fully resizable,
so they'll go as big or as small as you want them, horizontal or vertical,
and you can really just determine exactly how you want that layout to look.
These audio meters come from Audition, so we share a lot of technology inside Adobe,
and so the ballistics of these meters is far better than ever before,
and they're more accurate and just take up all of the screen estate you can give them.
You may have noticed that I just did this.
This is another really important feature in CS6,
which I will talk about in more detail later on,
a feature that we just call "don't stop playback."
One of the frustrations in previous versions of Premiere Pro
was that playback stopped regularly.
If you resized the panel, if you jumped out to Windows Explorer
or the finder and back, if you did a lot of things,
we'd stop the transport, and like I keep saying,
this is about the rhythm of editing, about keeping you in the creative zone,
so if playback keeps stopping, that's kind of annoying.
Don't stop playback basically means
you can do pretty much anything you can think of in the interface,
and playback will not stop unless you specifically tell it to, of course.
The audio mixer has also been redesigned, and this looks
a lot more like the Audition mixer.
Notice how these fader strips scale to fit the panel.
We've added really nice features in here as well,
simple things like if I pull this fader down and want to return it to 0 DB,
I can do that just with a quick double-click.
The buttons, the panels are much clearer.
The layout of the channel strip is much clearer too,
and so audio working in the mixer is that bit more intuitive than it was before.
So that gives you an overview of what we've done with the user interface,
and hopefully you can see what I mean when I say
it's really focusing on the media, on being creative
with the removal of interference, noise, and chrome.
[Adobe]
