While Apple has been slow to embrace resolutions above 4K with Final Cut Pro X, Adobe has welcomed ever-expanding file sizes and formats with open arms, despite users lacking the necessary hardware to take advantage of them. With the mid release of Premiere Pro CC, this early adopter mentality finally makes sense. The new proxy workflow in Premiere Pro CC While this functionality has existed to some degree in earlier versions, the procedure has been streamlined across the board and is now easier than ever.
For starters, editors can create proxies on an individual basis or when media is first ingested, a process that happens automatically in the background with the help of Adobe Media Encoder CC , even as you start working with that media in a new project.
In addition to proxy creation, users can alternately copy media to a new location or transcode to a new format; a fourth option first makes a copy of the original media prior to creating proxy files. Premiere Pro CC Projects link to these newly-created, lower-resolution files for faster playback and editing, but you can toggle back to full-resolution at any time with a single click for final mastering or export.
A variety of presets are included, but you can create your own to cover any scenario. Naturally, Adobe used this opportunity to adopt additional native file formats, most notably for Red Weapon, a camera whose 6K sensor is now upgradeable for shooting giant-sized 8K footage at 60fps. For those keeping score, 8K equates to the absurdly large frame size of x, or 16 times the resolution of p HD.
Other improvements include the ability to create and edit open captions more commonly known as subtitles without the need for third-party plugins. Although this feature is currently limited to basic font, color, size, and on-screen positioning, an update coming later this year goes even further, providing a streamlined workflow and Edge Color, which ensures captions will be readable on any background. Last but not least, Adobe has made good on its promise to support more legacy QuickTime codecs: The most obvious is the ability to properly preview VR media, either by clicking and dragging on the video itself, or using new tilt and pan controls in the Source monitor.
In addition to enhanced control surface device support, a new HSL Secondary section allows users to better isolate specific colors or luma keys, then apply secondary correction to only that area.
Adobe curiously removed Direct Link earlier this year, citing project formatting incompatibilities. Editors working with spherical VR media can now preview content in real-time, but this feature has some fairly heavy GPU requirements.
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