Reviewing what you’ve got, sure, but not for the bulk of what you’re doing. But I would really LOVE to see an editor trying to edit with a VR headset. Really? I mean, there is actually no difference between the viewers in 2015., both handle stereoscopic properly assigning the VR flags to sequences and then embedding the necessary metadata on export VERY useful. Even doing basic EQ meant flagging values on and off and struggling to get things as precise as you wanted.Īnd that’s… it. If you’ve ever tried to do audio work directly in Premiere before, you’ll know how maddening it’s been dealing with their unresponsive skeuomorphic effect control knobs. I happen to be working this week on a short project doing sound design and light mixing (I’ll link to it when it’s up) and the new audio tools in Premiere have been a massive time saver. Since a significant portion of my usual workflows are built on 12 bits per channel and roundtripping between Adobe and DaVinci, having a solid 12 bit 422 cross-platform alternative to ProRes may finally let me get rid of DPX. I keep looking for a solid alternative to ProRes for my workflows, and while they don’t yet support the DNxHR 444, they do solidly support DNxHR HQX. Second, the new native compression engine supporting DNxHD and DNxHR. So far we’ve been running 8K ProRes or 2K proxies for our clients so they could edit with our footage now they can take care of mastering with the 8K themselves (if they want). That’s a boon to all of us shooting on Helium sensors, and to our clients. And while not ‘featured’ as part of their summaries, it is there and it works. But let’s start with the positives, of which there are many.įirst and foremost, 8K native R3D imports.
![color grading in premiere cc color grading in premiere cc](https://www.downloadpirate.com/wp-content/uploads/2020/06/Sklsh_772047744.jpg)
![color grading in premiere cc color grading in premiere cc](https://d29rinwu2hi5i3.cloudfront.net/article_media/a9006062-f986-4952-8fa8-eb7e4efce3ad/premiere_grading_pic2.jpg)
Premiere is a different animal though, and I can’t say that all of the new features work properly. If you look at their new features page, you should be able to pretty quickly figure out which ones could be important to you, and there’s not much else to say about them other than “they work”. Side note: I considered talking about the new features found in Adobe After Effects, but really, there’s not much to say other than: they work? Largely they’re just performance increases accomplished by moving things to the GPU, broader native format support, time shortening templating, and better integration with a few other Adobe CC products.
![color grading in premiere cc color grading in premiere cc](https://helpx.adobe.com/uk/premiere-pro/how-to/make-extreme-color-grading/jcr%3Acontent/main-pars/image_1051794739.img.jpg)
If you want the TL DR review, the short version is this: most of the features offer genuine improvements, but range in usefulness from incredibly useful to just minor time savers a few, though, are utter crap.
#Color grading in premiere cc update
About two weeks ago Adobe released their 2017 update to Creative Cloud, and because of a couple of projects that I happened to be working on at the time, I figured I’d download it immediately to see if I could take advantage of some of the new features.