This is provided via a new Lumetri colour workspace.

So Adobe has brought technologies from SpeedGrade and Lightroom into Premiere Pro. However, for lots of jobs SpeedGrade is overkill, especially for a quick bit of grading. Adobe acquired IRIDAS’s excellent SpeedGrade around four years ago, and it has been part of the Creative Cloud offering since with CS6. This didn’t look out of place, and I can safely say I will be using this transition in interview work from now on.Īnother significant area of enhancement is colour.

I tried this on a corporate video with a well lit, contrasting background and the result was surprisingly good, although there was some spurious mouth motion along the way. This analyses the background, so it can figure out which bit of the frame is the talking head, then blends the two clips together so there is a seamless flow from one section to the next. So when it’s necessary to reduce the interview length, you either end up with a jump cut or have to use a cross dissolve that is almost as bad.Įnter the Morph Cut. The Morph Cut transition is designed for those times when you’ve shot a talking head but only have one usable camera angle, and not much B-roll for cutaways. There aren’t a whole lot of new effects in this version of Premiere Pro, but one in particular is garnering a fair bit of interest. Adobe Premiere Pro CC 2015 – Morph Cut and Colour Workflows Here, I take a look at what’s new in the 2015.0.2 release, aka 9.0.2. There have been a few sub-versions since I reviewed the first version of Premiere Pro CC, including improvements to the first release, and three iterations of the 2014 version. Now that the software is exclusively available via the Creative Cloud service, updates are more incremental and there is less hoopla when a major new release arrives. Premiere Pro CC 2015 is the most recent update to Adobe’s flagship non-linear video editing package.

Adobe lightroom review 2015