(upbeat music)
- Good afternoon, I'm Niels.
I look after the post business for Adobe in the UK.
I'm here today to talk to you
for the next half an hour or so about some
of the fun new features we've introduced in Premiere Pro.
First and foremost, we have developed
a new entry point, let's say.
The job of starting a project,
creating a sequence, getting your media in,
was was perhaps a little bit more complex
than it needed to be.
We've introduced what we call the header bar.
The top bar along the application window
contains these three task based roles up here
in the top left hand corner.
Imports, edits and export.
If we click across to the import page,
this is showing me all
of the locations from which I can ingest
and originate media down the left hand side of the screens.
So go ahead and click import.
And as you see, it has created a pre-built sequence
with the four shots that I selected and we are back
in the edit window with which you're probably more familiar.
Now at the top,
you'll notice we still have the workspaces layout as before,
but it can now be hidden.
You don't have to see it, you see.
The final tab is export that we see up the top here.
The export page in Premiere and indeed
some of the interface of Media
Encoder as well, contained a lot of options.
So we've stripped all of that back
and now this page is very much
about destinations for your media.
So on the left you'll see these are the choices
of either local file
or platform that you're going to deliver your work to.
And then as you enable those,
you get more discoverable functions
over here on the right as they become necessary.
The next topic which I was gonna talk
about a little bit is HDR.
It was a bleeding edge technology until
I guess before the pandemic.
Now it's really becoming established as a new basic norm.
So you've gotta make sure that your pipeline
is able to manage that kind of footage correctly
and not get yourself into a situation like you see here.
Well, this image on the right, in this candy store,
what's happened is the over brights at the top
have got crushed because this is being
incorrectly interpreted and squeezed
into a hundred knit standard HD color space.
You can see this is my permitted ceiling.
That's the maximum allowable level
of brightness there at 100.
Go into here and go to Modify - Interpret Footage.
This is where we are telling Premiere
how to interpret how it's gonna work
with the footage in your bin.
But you can see down here,
under Color Management, Premiere is automatically
using whatever flag it finds
in the file, Rec 2100 Hybrid Log Gamma high dynamic range.
In this case, it's important
that I'm gonna override that to REC 709,
the standard space for HD and we can see the clip
as it's supposed to look within that output.
Now one of the more exciting developments
of recent times is obviously the fact
that we are now working closely with the Frame.io family
and they are a fully fledged part of the Adobe world now.
So everybody who is running Premiere Pro 22
has the Frame.io capability available to them.
Now, anything I upload from Premiere will be visible
to any of my collaborators in that space.
And so I'm gonna upload my first video for approval.
If I go into back to the web portal here
which I opened a second ago, I should be able
to actually go ahead and share some of this with you guys.
So back in Premiere, if I go back
to that Frame.io panel we were looking at,
I can double click to load the video.
And what you'll notice is, yes,
already I see I've got a comment from Casper.
Thank you very much.
And there's another one over here from Eric.
But the key thing here is
that using this particular icon here for linking playhead,
when I move my viewer backwards
and forwards in the frame window
it is ganged to what's happening in the sequence down here.
Moving back, I said I would talk
to you a little bit about Speech to Text.
So this is one
of our prouder features of the last year or so.
If I want to make some captions, for example, for this,
I'll go to the new transcribed sequence section
under the text window.
So it's creating a flattened version of my audio track.
And as you see transcribing on device,
it's about a 45 second sequence and it's basically done
in the time it took me to finish that sentence.
If I now click on to create captions up here,
this little like icon,
it will actually then create subtitles
for me and it will create an entire caption
track for me at the top.
And then those captions can be manipulated
just like any other clip type in the timeline.
Moving on in the same vein of graphics and captions,
this is a basic workflow for creating text subtitles.
But if you want your captions to have a a bit more
about them and you want to do some animated graphics,
for example, or whatever else, you can use what we call
out Mogrt feature or Motion Graphics Templates.
At their most basic,
it's a Premiere title that has been turned
into a template that can be repurposed
and that it's more sophisticated.
It could be an After Effects composition
with several layers of animation and you know,
some graphics and visual effects and whatever else.
So lastly I'm gonna talk a little bit more
about a Sensei feature called Auto Ducking.
So if we take a list of what we have here is some voice over
and music but you can't hear the voice.
The music's too loud.
So I could go in and fix that by creating key frames
and ducking down the music everywhere.
There's a piece of dialogue,
but it might take a while so I have a quicker solution.
So if instead I go back to here and I click
on that and go to Ducking, when we hit Generate Key Frames,
it's going to auto mix my music track for me.
There we go.
There's the key frame.
I think that is about all I have for you today.
Thank you very much.
(people clapping)