NAB (National Association of Broadcasters) just took place in Las Vegas, and that means new releases are coming from a variety of vendors in production and post production. One I’ve been anticipating is the update to the Creative Cloud suite of applications. In particular, I am excited for the new features in Premiere Pro CC 8. Within the next update of Premiere Pro, editors will have access to tools, functions, and more that will allow them to be more effective and efficient. In the video below, my good friend and fellow post production professional, Josh Weiss of Retooled.Net, highlights some of the best features coming to Premiere Pro in 2014. I’m going to highlight the features I’m most excited about.
Masking and Tracking
Premiere Pro has come a long way in terms of tools meant for masking. With the release of CS6, plugin developer Creative Impatience created Feathered Crop, Vignette, and Simple Mask plugins that will help editors take care of simple compositing tasks that normally would have required many steps to achieve. With the new built in masking tools of Premiere Pro CC 8, it has finally reached the level that Final Cut Pro 7 had. You can create a rectangle or circular mask which can crop or isolate a portion of your footage. Best part is, that it comes standard with many of the native effects Premiere Pro has, like the Mosaic and color correction effects as seen below. This functionality will definitely speed up simple compositing tasks that most people would farm out to After Effects.
The added bonus of built in compositing tools is the tracking function that comes with them. As long as I’ve used Premiere Pro, motion tracking either came in the form of After Effects or a third party plugin solution like Boris FX. With this new addition, Adobe developers understand that editors sometimes want to keep certain tasks within the NLE.
This has been something that I’ve been asking for since CS5. I’ve even asked product manager Al Mooney to add this on Twitter during a #postchat conversation. Premiere’s partners in crime, After Effects and Photoshop, have had a transparency grid since the Creative Suite days, and this has aided in detecting if a clip or image had embedded transparency. For the longest time, editors did not have this option in Premiere Pro. The only way you were able to detect transparency is if you switched the source monitor to Alpha, and this would show you black for transparency and white for opaqueness. Now, we have more options with a transparency grid which will definitely make life easier.
Preserve bin structure
This is a feature I discovered via Scott Simmons in his Premiere Pro article. How many times have you ever organized your footage and assets in a structure at the finder level, only to have it broken by importing into Premiere Pro? Well, that is no more. Now, Premiere Pro will maintain your file structure upon import, which will give you more time to spend on editing and creative tasks.
Track Backward Selection
No NLE I’ve used since Final Cut Pro 7 has had this tool. Not Avid, not FCPX, and not Premiere… until this reveal. Now users can select clips forward or backward in the timeline. This will come in handy for editors with big timelines.
Live Text Templates with After Effects
This is a feature that Premiere users have been waiting for. For the longest time, we could import After Effects compositions into Premiere Pro via a dynamic link, but making changes was a tedious process. Live text templates is a step forward in the evolution of Adobe video products that will inch it closer to competing with the FCP X/Motion combination that exists now. This feature allows you to edit the text of an After Effects composition within Premiere without all the back and forth. While not completely perfect in execution, this feature will definitely open the door for what we can expect in the future between these two programs.
Overall, I’m extremely excited to try this next version of Premiere Pro CC. As my top NLE of choice, I’m always amazed at the features each update brings along with it. In my opinion, I believe this version can do everything the FCP 7 can do but better. And with the stronger integration with After Effects, it will put it on par with what FCP X can do.