Elsewhere, a new welcome screen (common to all the CC 2015 applications) introduces tutorials and new features relevant to your subscription. The interface tweaks also make it slightly easier to carry out some actions on a touchscreen.
of the portable apps here, but its still amazingly compact considering its a full office suite.
It doesn’t mean SpeedGrade or Audition are doomed (yet), but it offers an indication that Adobe is prepping Premiere Pro to become a more comprehensive application than it has been so far. Create whats true to you with Adobe Creative Cloud.
There are also greater capabilities within each of the workspaces, particularly for colour and audio. It’s a system designed to offer users a more intuitive way of working, and I took to it fairly quickly. The new Assembly, Editing, Colour, Effects and Audio tabs correspond to the typical stages of post production. Like Lightroom and Photoshop, Premiere Pro now has a switcher bar for a selection of workspaces. So here they are, the feature breakouts by individual product what’s new (at-a-glance or in depth), as well as the version comparisons and differences between Adobe CC 2015 vs. Premiere Pro CC 2015 review: User interfaceĮlsewhere, a handful of smaller changes have been made, the most obvious of which are to the front end, specifically from a workflow perspective. However, by bringing in technology from its professional photo and colour-grading tools, in particular the capabilities to sync with mobile apps, Adobe is able to mount a considerable challenge with this version of Premiere Pro. Downloadable installation files available: Suites and Programs: CC 2017 CC 2015.5 CC 2015 CC. EditShare’s venerable NLE, Lightworks, has also recently upped its game with a streamlined workflow for its real-time colour-correction tools. All three applications have embraced the power of looks for creative finishing. Apple Final Cut Pro X and Avid Media Composer, through its Symphony option, are also strong contenders.
Premiere Pro isn’t the only modern non-linear editor (NLE) to sport powerful colour correction and grading capabilities. There’s now a greater variety of Scopes you can bring up for finer calibration, too.
Adjustment sliders include the lovely Faded Film, for reducing saturation, and Vibrance, which increases the saturation but protects skin tones. An intensity slider increases or decreases the effect. At this point, it can be dragged to the timeline and adjusted using the new Lumetri Colour panel in the Colour workspace.Ĭlicking on the creative section brings up a preview window that lets you step through tasters of looks with a single click – including those already added to your libraries. This information can then be synchronised with Creative Cloud and will appear in the libraries panel as a colour Look. So, say I’m filming in the Highlands and the sun breaks through heavy clouds to illuminate a green sward with golden light I can open Adobe Hue on my iPad and hit the capture button, and the colour and light information in the scene will be represented by a cluster of coloured bubbles showing the saturation, volume and luma of each colour. Essentially, Hue is a colour-picker that derives a colour Look from a piece of video. Library synchronisation also includes colour looks generated with the new Adobe Hue iOS app.
It’s possible to share any of these assets – or, indeed, whole libraries – with any other Creative Cloud subscriber such files simply appear in the libraries panel.
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