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Template style choices for quick and easy titles as well as more sophisticated tools should please beginner through advanced users without needing to leave Premiere for most titles.Ĭonforming audio has been a bit of a sore issue with Premiere users. The New Adobe Title design layout took a bit to adjust to, but once we got accustomed to the workflow, we were titling with ease.
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We would still prefer to author our DVDs in Encore DVD, but greater control is now available in Premiere Pro 2.0. Now menus and submenus can be created, animated backgrounds and looping background audio can be added, a DVD Marker button appears in the DVD Layout interface for easy menu marking and the program ships with a number of templates not bad. We were happy to see that Premiere Pro 2.0 had greater DVD creation tools from within the editor than version 1.5. This will speed up the workflow tremendously. For example, an animation designed in AE and imported into Premiere Pro can be used without first rendering it in AE and can be changed in AE with the changes porting over to Premiere Pro automatically. Plus, if you’re using the Production Studio, the powerful Adobe Dynamic Link enables you to share various elements between AE and Premiere Pro. From “twirly,” triangle drop-down handles to Bzier Handles for greater key frame control advanced effects users will surely embrace these changes. It’s obvious that the After Effects coders and designers have been sharing notes with the Premiere programmers, as many of the Premiere effects interfaces closely resemble the After Effects GUI. You can also drag media straight from Bridge into the Project window.
Organization is the name of the game on big projects so we very much welcome this functionality. Bridge not only lets one preview media such as AVI files directly in the Bridge window, but it also lets users enter a host of metadata information that makes searching for footage much easier. We must admit, this innovation caught us by surprise.Īdobe Bridge allows editors to browse video and audio clips as well as Photoshop, Illustrator and After Effects files in one central area.
You now import the Clip Notes document into your sequence and your program generates markers at the appropriate timecode locations on your timeline. Now imagine the ability of the receiver to type in frame-accurate comments into this optionally password-protected document and email it back to you, the editor.
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Imagine effortlessly embedding a video clip into a PDF file for easy emailing. If you need to share footage with other editors and/or clients, Clip Notes is astonishing.
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The most surprising, dare we say revolutionary, new addition to this upgrade is called Clip Notes. This, coupled with the ability to pull panels from one frame and group them in another frame gives editors strong control of their workflow. Making one panel bigger, say your Timeline, makes its neighboring panels, for example the Source panel and the Program panel, shrink. Adobe now calls these windows “panels,” which are dynamically attached to each other.
The new interface wastes no desktop space and more importantly, eliminates overlapping windows. One of the first differences experienced Premiere Pro users will notice is in the GUI (graphic user interface). We don’t have room to investigate the many new changes on these pages, but we’ll look at some of the major ones.
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The full number upgrade is packed with new features–many that bring Premiere Pro 2.0 into the realm of other high-end editing programs and a few that project it beyond. The programmers and engineers at Adobe have been busy since the release of Premiere Pro 1.5 about two years ago. Adobe has reentered the Professional software based editing world with the new Premiere Pro 2.0 as a stand-alone program or as a tightly woven member of the Adobe Production Studio.
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