2. Old versions will automatically be deleted. As part of the default options for installing Adobe Creative Cloud 2015 any previous versions of the software, such as CS6, or 2014 versions, will automatically be removed from your system. Personally I was fine with this for certain apps – I hardly ever use Illustrator as a film editor – but not for Premiere, After Effects or Media Encoder. If you’re mid project (and you almost certainly are) you’ll definitely want to wrap that up in CC 2014 before moving over to 2015 – you don’t need Morph Cut that bad!

If you’ve already uninstalled the apps and want to get them back you can find direct download links from Adobe here. The quick tutorial above from trainer Angie Taylor will take you through safely installing Creative Cloud 2015 and keeping your originally installed applications. (It’s a pretty simply tick box operation.)

3. Teething Problems. -If you’re a (sensible) cautious editor you might want to wait for the 9.1 release as Adobe iron out the inevitable bugs and errors in the program. I’ve seen some users complaining of serious RAM leaks, audio errors and more in this release. Further more if you’re using the new After Effects you should check out this Adobe blog post on the features that have either temporarily or permanently been removed.

@videoguys @editblog how come nobody wants to discuss why merged clips weren't fixed at all. You still can't match frame them properly!

— nsaati (@nsaati) June 17, 2015

@MaciekKaliski Workspaces do not translate forward because of the new layouts in CC2015 – sorry if this is an inconvenience. ^meagan

— Adobe Premiere Pro (@AdobePremiere) June 16, 2015

Having specific issues with @AdobePremiere CC2015? Export an XML & import into CC2014. Save, continue working like nothing happened. #revert

— Cinetic Studios (@CineticStudios) July 4, 2015

What’s New in Adobe Premiere 2015

For a fuller look at the new features in Premiere Pro 2015 check out this 25 minute presentation from Jason Levine at NAB 2015. Abel Cine points to an interesting improvement in the update as well. For more on the Panasonic Varicam35 check out this previous post.

One big improvement is support for both the 4K 4:2:2 and 4K 4:4:4 versions of Panasonic’s AVC-Intra codec for the VariCam 35. Premiere CC 2014 supported 4K on the VariCam 35 only in 4:2:2 color sampling.

Scott Simmons has a great write up of some of the smaller improvements in the release that might be of greater interest to editors than the colour grading enhancements. His favourite new addition is curiously the following keyboard shortcut.

Trim and Nudge can use the same keyboard shortcut

YES! Pardon my excitement as this is my favorite thing about this new update. If you’ve build your PPro keyboard out of a Media Composer base you probably realized that mapping the m,./ keys to make them like Avid (which can perform double duty in Media Composer) could not do the same in PPro, until now. Before nudging a clip as in moving clips left and right in the timeline and trimming an edit as in moving the edit point left and right had to use separate keyboard mappings. Now that can be the same which makes sense as it would be impossible to use those two command together.

Joey Daoud from Coffee and Celluloid compares the effectiveness of Adobe Morph Cut and Avid’s Fluid Morph over a series of interview based jump cuts and concludes that Adobe still has some work to do, which watching his test was my thought too. As an FCPX editor he does share a (now, blindingly obvious, but*) great tip for anyone wanting to make use of Fluid Morph which is to download the free trial of Avid Media Composer (or probably Avid First when it becomes available) and simply export your clips that need joining with handles, run them through Fluid Morph and drop them back in. He also points out that his usual 6 frame morph in Avid is cautioned to be ‘too short for an effective morph’ in Morph Cut.

*Why didn’t I think of this before! I’m obviously too ‘silo-ed’ in my creative thinking….

Premiere Bro also has a nice write up on the new features editors should know about in Premiere which includes some handy little tutorials and detailed screengrabs, including this shot of the improved audio mapping controls. It’s well worth having a rummage on the rest of the Premiere Bro site for more tutorials and a weekly round up of cool Premiere related things he has found.

Dave Helmly has a half-hour walk through of some of the thinking behind the new features in Premiere Pro, which includes some things that aren’t covered in the other videos above, like some of the more technical nitty-gritty improvements, so well worth a quick watch.

Colour Grading Tutorials for Premiere Pro 2015

The colour grading features in Premiere Pro get a whole-sale upgrade and these tutorials from Larry Jordan and others will help you get to grips with the capabilities quickly. Mikey demonstrates how to white balance a clip in the new Lumetri Colour panel in the short tutorial below.

If you’re after some free presets that you can use in Lumetri Color inside Premiere then Oliver Peters has put together a free package of looks, originally created for Speedgrade, that can be used inside Premiere Pro in a jiffy. Creative LUT package creators LookLabs, were a previous sponsor of the blog, and you can check them out here.

The top control of the panel lets you select either the source clip (left name) or that one instance on the timeline (right name). If you select the source clip, then any correction is applied as a master clip effect. This correction will ripple to any other instances of that source on the timeline. If you select the timeline clip, then corrections only affect that one spot on the timeline. Key, for the purposes of this article, is the fact that the Lumetri Color panel includes two entry points for LUTs, using either the .cube or .look format. Adobe supplies a set of Adobe and LookLabs (SpeedLooks) LUTs. You can access built-in or third-party files from either the Basic or the Creative tab of the Lumetri Color panel.

In this video you can check out out Al Mooney’s exuberant Supermeet presentation in which he demos other ‘previewed’ features like Project Candy and Premiere Clip, which highlight some of Adobe’s efforts to integrate mobile devices into your workflow, but focused on the colour grading aspects of post-production. He also demo’s Morph Cut.

In this NAB presentation colorist, trainer and author, Robbie Carman also demos the new colour grading features in ‘Work Like An Editor, Think Like A Colorist’. You can check out a whole lot more training from Robbie over on Mixing Light.com. In fact in this insight, you can check out Robbie talking about these new features. (And with much better audio too!)

Casey Faris has a quick tutorial on recovering highlights in the Lumetri color panel by adjusting the camera RAW source settings in the Effects panel. In the next, much longer, tutorial Casey walks through grading RAW, LOG and Rec. 709 footage in the Lumetri panel.

Tutorials for Editors in Adobe Creative Cloud 2015

Larry Jordan has shared these excerpts from a recent webinar, which you can purchase in full here, which provide some really useful tips for editors working in the Creative Cloud eco-system.