Expert’s Rating
Pros
Cons
Our Verdict
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With Apple ’s Final Cut Pro move its own way , with a sleek and modern port , and Avid ’s curmudgeonly Media Composer still holding sway over traditional video editors , it was always give out to be interesting to see which way Premiere Pro went with the young Creative Cloud version .
So , back to the original dubiousness , and Premiere has scuffle somewhat towards Media Composer . While Premiere could import its AAF Indian file , they were n’t always that precise . This has been improved for both importing and exporting , with better support for Media Composer ’s native DNxHD medium format . Another pick is the power to take specific sequences when exporting to AAF . So FCP owners do n’t find result out , there ’s effective compatibility with Final Cut task as well . help things along are the build - in Messanine codecs ; Adobe now has a team doing nothing else but operate on codecs , so they will be 64 - bit and multi - core threaded . As such , Sony XAVC and Panasonic AVC - Intro 200 are now supported . Of of course , there ’s still the 2 K and 4 K format that Media Composer has trouble with – version 7 expected to call – which can be blue-pencil straight on the timeline .
If you thought Premiere CS6 did a good job of cleaning up the port , then get ready for it to become more complex again . Not through overeat more shaft icons back in , but rather by adding modest icon to time . As part of the timeline revamp , each cartridge clip now has a notification gadget , which use a color computer code to either intend nothing has shift , the magazine itself has changed , an intrinsical effect has been changed or that an effect has been add .
This gives it a more contiguous and visual nature . While Premiere Pro CC has n’t gone as far as Final Cut ’s Magnetic Timeline , there is intuitive lead targeting to make them easy to select , there are numerous keyboard shortcut , and effects can be copied and pasted from one clip to another using the Paste Attributes function .
One orbit of much - needed improvement has been overhauled – locating and link snip . Searching , finding and identifying clips and their proportional location is a mess quicker and easier now .
Last time out , mark were improved ; this time it ’s timeline rail headers that can be customised , resize , and have presets create and go for . Also , the Media browser app ability to mark out sections of clips before you even load them into the project has been expanded , so you may browse for specific sequence and media before importing .
The Mercury playback railway locomotive does a good job of genuine - time previews , but if your hardware did n’t have a CUDA graphics poster , then it was the CPU , not the GPU doing all the piece of work in CS6 . The range of what it will knead with has been expanded in CC , so anything with OpenCL can harness some of the more graphic - intensive previewing . This was more of an issuance for iMac owners as they were stuck with whatever graphics card was establish in . There ’s still a recommendation to have a wit with 1 GB of VRAM , even with that OpenCL support , otherwise the redaction cause sluggish with lots of tracks and effects on that horizontal surface of hardware .
antecedently Premiere CS6 fall back behind FCP and Media Composer when it come to people of colour correction and scaling , require a trip to Adobe SpeedGrade to finish the job . The three - way colour controls were redesigned for CS6 and now in CC there ’s the Lumetri Deep Color Engine , which can apply preset color grades . It also features a Looks internet browser with a range of presets from bleach beltway to seventies styles and can add face from SpeedGrade without leaving the house .
Another area where Premiere Pro was lagging behind FCP was being able to sync multicam time by audio , which made life unmanageable if you were using DSLR clips as they do n’t have timecodes . Well rejoice now because that ’s just been lend . you’re able to synchronise single multicam shots or whole bins of clip fit in to the audio wave shape .
sound itself has quite a few more tweaks , though nothing radical . Audio clip can be set independently or expend a control airfoil for extra preciseness . There ’s the TC Electronic Radar Loudness m and livelihood for a host of plugins such as Audio Units , but only if you have a Mac .
There are other features worth looking at , like close captioning , which is mainly for studios in the American market , the Adobe Story Plus scripting tool and enhanced monitoring in the informant and computer programme admonisher panels .
