The project panel is where you store all the elements needed to create your finished video. It can contain individual video clips, audio clips, titles, photos and graphical images. When you import new items they appear automatically in the project panel. The project panel also contains sequences, which include all the data in a particular timeline. Premiere Pro displays only the clips with the letters jo in the name or in the metadata. Notice that the name of the project is displayed above the text-entry box, along with (filtered). This is the only indication that some of the clips in the Project panel may be hidden. Switch a full Premiere Pro Project between the 2 plugins If you just install BRAW Studio and open a project started with the Blackmagic Plugin, you will likely have several problems like red popup from our panel, and you will loose every change you made in the BMD Source Settings effects, so: don't do this! Adobe Premiere Pro is an Adobe Systems Timeline Video Editing App. Premiere Pro supports video-editing with up to 10,240 resolution by 8,19210 in both RGB and YUV, with up to 32-bit color. Audio sample editing, support for VST audio plug-in, and 5.1 surround sound mixing is provided.
The latest update for Adobe Premiere Pro CC is available today. Premiere Pro 13.0 offers improved performance, awesome new selective color grading, polished motion graphics workflows, intelligent audio cleanup, end-to-end support for VR 180, and more. The new features are listed below. You can read a full overview, including video demos, in our Premiere Pro post for IBC 2018.
And that’s not all. All-new Premiere Rush CC was also released today — an all-in-one, cross-device video app that extends your editing platform wherever you go. Capture, edit, and share online videos from your mobile device or desktop. Open native Rush projects in Premiere Pro for additional editing power.
Premiere Rush CC is available for download now at bothAdobe.com_ and via the iOS app store (Google Play Store availability coming in 2019), and is offered across a series of plans including the Premiere Pro single-app plan. Learn more_ here.
Update: 13.0.1 released on November 1, 2018. See What’s New page for details.
Updating to Premiere Pro 13.0
The Premiere Pro update is available online or directly from your Creative Cloud application.
Auto updates: Creative Cloud now supports auto updates for the Creative Cloud apps. For the video and audio apps, we do not recommend enabling this feature.
**Before you update: **check your system specifications. Software is always evolving, and system requirements change with them. Premiere Pro 13.0 requires Windows 10 v. 1703 (or higher) or macOS 10.12 or higher (10.13 recommended for Apple Metal graphics acceleration).
- Learn more about updated operating system requirements.
- Important: updated graphics requirements for Apple Metal, CUDA, and NVIDIA GPUs.
- Visit the Premiere Pro system requirements page for more information.
Best practices for updating
As with all software, we recommend saving and backing up current projects before updating.
Premiere Pro Switch Between Projects 2020
You can create a parallel installation of Premiere Pro 13.0 alongside existing installations.
Locate Premiere Pro under Apps in the Creative Cloud desktop application and click on Update. Click on “Advanced Options” in the popup dialog. Ensure that “Remove old versions” is deselected.
Note: projects created or saved in Premiere Pro 13.0 aren’t backwards-compatible with previous Premiere Pro versions (e.g., version 12 releases). If you work with other editors or teams, confirm they are on version 13.0 before starting projects in Premiere Pro 13.0.
New features in Premiere Pro 13.0
- Selective color grading
- Display color management
- Add, rename, and edit Lumetri instances
- Open Premiere Rush projects in Premiere Pro
- Intelligent audio cleanup
- Edit and transform vector graphics
- Essential Graphics and Motion Graphics template enhancements
- Support for data-driven infographics
- Improved search for Motion Graphics templates in Adobe Stock
- VR enhancements
- End-to-end workflow for 180 VR
- Spatial markers for immersive media
- New Theater mode in Adobe Immersive Environment
- Collaboration enhancements
- Group invites for Team Projects
- Creative Cloud Libraries enhancements
- Performance enhancement and file format support
- New file format support
- Support for Australian closed-captioning standard
- Performance improvements
- New home screen
- Auto-save improvements
- Quick timecode entry,
- And more.
Feature notes
Updates to Motion Graphics workflows
Motion Graphics templates are, by their nature, flexible, and can include as many or as few parameters as needed. That’s why new features, such as font controls, data-driven infographics, and organized customization parameters require Motion Graphics templates (.MOGRTs) authored in After Effects which include these functions. Existing MOGRTs can be updated and re-saved in After Effects to add them.
Along with these specific features, the overall workflow for Motion Graphics has been refined and performance is noticeable faster in most cases.
NEW Display Color Management
With new Display Color Management turned on, you can leave your OS color settings set to the system default and your colors will be presented correctly on-screen while working in Premiere Pro. Color information of your source files is not modified and will export correctly.
Display Color Management works for any internal monitor and for any secondary computer monitor used as part of the OS desktop, including HDMI, Display Port, DVI, and Thunderbolt connected displays.
Display Color Management does not support external monitors connected through video I/O cards using Mercury Transmit. These need to be configured outside of Premiere Pro.
Enable Display Color Management by opening Preferences > General > and check “Enable Display Color Management.” The preference is off by default since not all systems have sufficient GPU horsepower to use the feature.
NEW Selective Color Grading
Selective Color Grading provides five new curve adjustment tools. The first one, Hue vs Saturation, replaces the radial “donut” and presents the same controls as a horizontal curve line.
Use the eyedropper to select a color range in your image, or manually add adjustment points as needed to manipulate the curve. A scroll bar at the bottom of the window makes it easy to work on any part of the line (essentially, dialing around the color wheel).
Hue vs. saturation
Select a hue range and adjust the saturation level. As you drag your selection up or down, a vertical line appears and displays the saturation levels available, giving you visual guidance as you adjust.
Hue vs. hue
Select a hue range and change it to another hue — modifying a specific color range, for example, to match it or distinguish it from other colors in the image. Again, the vertical adjustment line provides a visual guide as you make the adjustment.
Hue vs. luma
Select a hue (color) range and adjust the luma (light). You could use this, for example to darken a pale blue sky and add more contrast or drama to a shot.
Luma vs. saturation
Select a luma range and adjust the saturation, for example to roll off the saturation in the highlight of a sunset and minimize clipping in the center of the sun which is overexposed.
Saturation vs. saturation
This allows you to selectively adjust saturation for a specified saturation range. Use this for fine adjustments to your image or to ensure broadcast-legal saturation levels.
Bug fixes in Premiere Pro 13.0
Performance
- Improved Mercury Playback Engine performance on Metal.
- Improved Reverse Playback performance of HEVC file.
- Improved Metal renderer performance at full-res playback.
- Lumetri: Performance drop/dropped frames with interlaced media (GPU).
- 8K R3D playback performance issues at full and half resolution (macOS).
Stability
- Intel Coffee Lake CPU: crash when importing or opening an existing project while NVIDIA driver is enabled.
- Crash can occur when going backwards in Learn panel.
- Crash when switching to thumbnail view with PNG files.
- Recovery clips are created when working with multiple open projects.
- Import reference file for some audio (e.g., AIFF, MOV) results in low-level exception in Importer MPEG.
- Slow import of multiple AVCHD files on macOS.
- Crash when switching between workspaces viewing Waveform Luma & RGB Alignment in Lumetri Scope.
- Stability issues with laptops with discrete GPU running Windows 10.
- Crash when quitting if “Manage My Account” link is open in that session.
- Several redrawing errors, crash and blank screen while changing workspaces using Workspace tabs.
- Crash when importing XDCAM files from Nexio/Harris Velocity.
- Crash when using “Reveal Project in Project Panel” with some projects.
- Reverse nested sequence causes program monitor to display black.
- Files generated by YI camera result in low-level exceptions or application stops responding.
- Duplicating sequences loses effect data.
- After adding a motion effect to clip on timeline, playback will freeze.
- Crash occurs when match framing or slip/slide of clips in multicam sequence.
- Placing growing MXF file from Abekas into sequence causes Premiere Pro to crash.
- Hang when rendering some timelines.
- MP4 material can cause video playback to freeze and the application to stop responding.
- Application hangs when importing 100 or more files, requiring force quit.
- Importing FCP xml into large project results in a freeze.
- Hang while importing some types of GoPro files.
Formats
- Some ARRI Alexa Mini files appear incorrectly vertically instead of horizontally.
- HEVC mov files with Codec ID hev1 import as audio only.
- Playback does not work when importing ALEXA_LF 3840 x 2160 files.
- R3D file plays back distorted in 1/4 resolution or lower playback setting.
- When importing ProRes 422HQ codec mov files on Mac, a slight color shift can occur.
- QuickTime files that are out of gamut are shown as being in gamut on Windows.
- Open GOP files have artifacts with HW decode.
- Some H.264 files with frame rate and original frame rate values have switch to software decode.
- Imported H.264 10-bit files have shift in color values.
- Premiere can’t import 4448×1856 ARRI RAW files and eventually hangs the app.
- Importing some QT files cause the app to hang or crash.
- Subsequent imports of XDCAM HD 422 MOV file will only import audio.
- Some audio/video files import as video only.
- Filmic Pro files import as video only.
- 4K raw files from Sony FS7 import as white screen.
Workspaces and panels
- Issues with Workspaces when opening legacy projects.
- Workspaces don’t save with the project.
- Display Timecode is inconsistent when multiple timeline panels are visible.
- Opening a second project opens two project tabs in project panel.
- Switch to another workspace results in missing some or all of the project tabs.
Editing
- Adding marker to multicam clip causes waveform to disappear.
- Clip name in timeline not legible.
- File selection is not carried over when switching between Icon and List views in project panel.
- Marker workflow between timeline, source monitor, and program monitor panels is broken.
- Video and audio usage drop-down list doesn’t work if any clip is selected in the project panel.
- Digital distortion in silent areas between clips if used as a track-based compressor.
- Drag clips from one project to another project’s sequence loses clip label color.
- Moving clip between projects via source monitor loses label color.
- Reveal in Project, with bin set to open in place results in bin tab not being selected.
- Merged clips are deleted from a timeline, without a warning, if a smart bin filtering merged clips is deleted.
- Clip marker comments are lost when quitting.
- When AJA Capture Settings dialog is set to control panel, changes are unsaved.
- Background color of drop zone barely visible when dragging media from finder onto project folder.
- Saving multiple open projects that originally had different saved renderers all get saved with current renderer.
- Motion Graphic template does not always relink or indicates that After Effects is required to be installed.
- Can’t change camera views of a multicam project item in a locked project.
- When AJA io4k is configured to transmit Rec 2020 over HDMI, picture outcome is corrupted.
- With Sonnet eGPU device attached to iMac Pro, new timeline creation leads to crash.
- Incorrect XMP data leads to missing frames in Source Monitor playback.
Captions
- Intermittently lose decoding of CC 608 or 708 in timeline when adding more than one blank caption with ctrl-click add caption to timeline.
- Unexpected behaviors when making two blank captions.
- Issues with authoring captions on V3 when another captions track is on V2.
- Setting I/O point and exporting project with embedded captions strips captions from track (Windows only).
- When importing dfxp TTML open caption file and placing it on the timeline, characters appear to overlap on the program monitor.
![Premiere Pro Switch Between Projects Premiere Pro Switch Between Projects](https://s3.amazonaws.com/pbblogassets/uploads/2012/06/Selected-Panel.png)
Audio
- Media pending error displays when audio input set to non-working device.
- Mix down clips to stereo setting deletes track routing when dragging a sequence to the source monitor with multichannel master tracks.
- Specific AAF files that are exported fail to import on Windows.
- Silent audio export from audio clip at 9,000 percent speed.
- Solo in clip mixer with a clip loaded into the source monitor does not properly reflect the solo state in the mini meters.
- Waveforms constantly refresh with large projects when BlackMagic transmit is enabled.
- Switching cameras on multicam clip in the source monitor does not switch audio unless a third-party transmit is enabled.
- Embed audio for AAF creation strips out the audio file metadata.
- There is intermittent left/right channel bleed and waveforms only display problem areas at certain zoom levels.
- Some TS-mixed 5.1ch files are imported as stereo.
- Incomplete audio when recording on two tracks.
- Audio distortion when using an ASIO sound card, Decklink device, and switching rapidly between multicam view may lead to hang.
- Flattening a multicam audio item will clear any volume adjustment.
Export and render
- Green/pink patches along with horizontal lines are observed while playback of HEVC/H.264 files with Intel Graphics 620.
- Error compiling movie “software render error” for some third-party plug-ins.
- Warp Stabilizer gives a bad result with interlaced footage.
- Certain settings for MPEG2 export result in pixelation.
- Red frames when exporting specific projects.
- Export of HEVC 4K clip using HW encoding on i9 MacBookPro results in ExporterMPEG_VideoToolbox error.
- Analyzing in background banner appears erroneously when playing a morph cut.
- Export Range is full instead of limited when exporting HDR content for H.264 and HEVC.
- Export failures caused by Lumetri render error.
Our latest innovations from Adobe MAX 2018 are here. New apps. New features. New ways to create.
Airbus and Boeing are the two top airliner manufacturers. Their planes are by far the most frequently seen in the skies. Yet Airbus pilots can’t fly Boeing aircraft without extensive retraining and vice versa. The vast majority of pilots spend their entire careers flying one brand or the other, but not both.
It’s easy to understand why pilots prefer to stay with their chosen aircraft manufacturer, and it’s equally easy to see why video editors remain loyal to their chosen editing systems. It’s the investment in time and money spent learning the product. It’s the muscle memory. It’s the experience and the know-how. It’s an editor’s confidence that she or he can get the job done for the customer. It’s being productive. It’s being able to sleep at night.
Workflow changes
Most editors are reluctant to make big changes to their workflows. That’s understandable – a stable, dependable workflow is a wonderful thing. And yes, experience and knowledge matter here too.
Adobe Premiere Pro Sample Project
Sometimes though, things have to change. Occasionally the industry pivots to a new set of requirements that demand a new way of working. And when it does, the experience can be painful.
Why is it painful? Even with the best intentions, and the best technology, it’s very likely new skills will be required. Some people simply don’t like change. They are happy with the status quo and their feeling is “if it ain’t broke don’t fix it”. But it’s always wise to review working methods: can we make the production process easier, better and faster by implementing new workflow procedures?
Even slight differences can act as major roadblocks if they’re not well thought out. Bigger changes stop workflows in their tracks. Old production methods used to run without the user having to think about them, while new methods bring unwanted problems that suddenly loom ahead like an undocumented mountain range.
Mandatory media management
When Adobe’s NLE, Premiere, was first introduced in 1991, there were few, if any, competitors. As you’d expect, Adobe’s video editing software has changed radically since then. Computers are thousands of times faster. Storage is hundreds or thousands times bigger. And it needs to be, because acquisition, post production and display resolutions – and hence file sizes – have increased around eighty times since the ‘90s.
On top of all of this, video consumption has exploded, with new outlets, destinations and video-capable devices appearing so fast that it’s hard to keep track of them.
![Adobe premiere pro switch between projects Adobe premiere pro switch between projects](https://wwwimages2.adobe.com/content/dam/acom/en/products/premiere/max2017/images/pr-riverflow-2-720x520.jpg)
What’s more, tapes were physical. Every tape had a number and a location – probably on a shelf. They were tangible and simple to track. After the transition to digital, we started dealing with digital files. These had abstract naming conventions that were not obviously related to the content. As drives became bigger, content became more unstructured – and therefore harder to track.
This is the background to the story of how media asset management (MAM) systems have become crucial to virtually any size of post production facility, where it’s common for editors to collaborate on larger projects, and for storage to be shared and centrally managed.
It’s the inevitable result of complexity. Without effective media management, on all but the smallest projects, there would be chaos.
Adobe’s focus on video production has culminated in today’s Premiere Pro, which is used everywhere including Hollywood, where $100m+ blockbusters like Terminator Dark Fate and Deadpool have been cut on Adobe software. Partly to achieve scalability, but also to allow “best of breed” third party inclusion, Adobe has responded to this level of success by creating an accessible architecture where external software can appear though extension “panels” within the Adobe UI.
Meeting in the middle
EditShare’s FLOW Panel for Premiere Pro is a portal between two worlds. On one side is enterprise-level media management and on the other is the creative world of editing and post production with Premiere Pro. Two different specialties, each with an essential job.
Editors have their own set of priorities. Their skills marry productivity with artistic and aesthetic choices. Understandably, they are reluctant to step outside their optimized personal work environment.
Premiere Pro Switch Between Projects Online
The FLOW panel allows editors to stay inside their productive zone. To an editor, it is instant access to the power and scope of FLOW, without having to leave Premiere Pro. An immediate connection to their media from a shared and collaborative storage system without having to learn a new user interface.
Let’s have a closer look at why interfaces grow up differently, and why our FLOW panel is such a big leap for Adobe users.
Center of gravity
Every successful company has its area of expertise which you could see as a “center of gravity”. EditShare is media management, collaborative storage, ingest, logging, and scalability (on premise and in the cloud). Adobe’s is all about editing, VFX, audio and easy interchange between these disciplines within the Adobe environment (between Premiere Pro, After Effects and Audition, for example).
This means each company has a differently evolved, separately optimized user interface. And, this is what defined the challenge of building the FLOW panel. Specifically – how do you present a significant element of FLOW functionality from within the Premiere Pro interface?
In technical terms, much of the heavy lifting was already done. Adobe has a developer partner program with a very deep, wide ranging SDK. EditShare also has well developed, published APIs.
So the tools were there for a reliable and stable connection. It was then a question of selecting the aspects of FLOW that editors would need to have the most direct connection with.
The panel will continue to evolve, but it already has some remarkable time saving features. It gives Premiere Pro editors the ability to search for content and get direct and instant access to all their media spaces on the EditShare system, to see content that may have been archived long ago on LTO tapes or cloud storage, see all metadata associated with each clip – user markers, automated audio transcripts, AI-assisted object recognition information, and more. Simply select and import media directly from the FLOW panel into a Premiere Pro project. Instantly switch between proxy and full resolution. Never leave the Adobe UI to find the clips you want.
Designed by editors for editors
Premiere Pro Switch Between Projects Free
The FLOW panel was designed by editors, for editors. Editors save time by not having to switch working environments. No duplication of effort. Most of all, there is a true and friction free round trip from Premiere Pro to FLOW and back again. The FLOW panel has a powerful core functionality, but it is full of thoughtful touches. For example, if you’re searching for some media in a tree of folders, the panel will remember where you were the next time you have to go back there. You don’t have to start again from scratch. There’s also the flexibility to switch between high resolution files and proxies. If you’re in the field and you find you don’t have the high resolution material to hand: the system can automatically download the fully editable proxy version to a local drive of their choice.
The continuous connection between your Adobe project and FLOW makes it possible for other remote users to review your footage, adding markers and comments on the fly, while you’re working in Premiere Pro.
Technical and artistic co-operation
Premiere Pro Project Locked
EditShare’s FLOW Panel for Premiere Pro is the result of openness by both companies.The FLOW panel is an editors-first interface within Premiere Pro. It provides the maximum efficiency with the minimum friction.