One of the biggest demands we’ve seen lately has been the ability to edit 4K, or even 6K, footage. Premiere Pro CC has added a GPU debayer for RED footage that lets editors cut native RED media. Adobe also has added native format support for ARRI AMIRA, Sony MPEG-4 SStP and compressed lossless Cinema DNG from the Blackmagic Pocket Cinema Camera.For titling, Adobe added Typekit support, which makes the Adobe type library available within Premiere Pro CC.
AFTER EFFECTS CC
Looking at Adobe CC 2014 in the big picture, it’s mainly focused on the integration between Premiere Pro and After Effects. According to Adobe Product Manager Steve Forde, the two conflicting requests he received were: 1) Make After Effects easier to use; and 2) Don’t change anything in After Effects.
"What we realized was that there are a lot of people who predominantly work in the editorial experience with Premiere Pro who didn’t have the time, or possess the skill, or work with other people who were doing the motion graphics work with After Effects," says Forde. "So we took some of the technology of After Effects and put it into Premiere Pro."
For VFX work, After Effects CC brings new keying effects that give you better results from compressed or bad greenscreen work. You’re able to fine-tune elements with more precision, as well as neatly eliminate color spill with advanced spill suppressor controls.
Adobe seizes on the rise of mobile by offering Kuler integration, which lets you capture colors with your iPhone and then transfer them as color swatch themes to After Effects.
With Typekit also added to After Effects CC, you have access to over 700 fonts in the Adobe Typekit library.
With new Mercury Transmit support, when you add a second monitor, After Effects CC gives you full-screen previews of your compositions. You also can manage and import content more efficiently with After Effects’ improved Media Browser. Working with Adobe Anywhere, you can work with your content locally or across your Anywhere network, including P2 and XDCAM material.
There’s new support for Panel Integration, so effects artists now can develop panels that can open inside After Effects, making it easy to access and install plug-ins, extensions, training media or other content.
As with Premiere Pro CC, After Effects has flexible masking options that can be integrated easily with Premiere. You can add masks and effects without needing additional adjustment layers or track matte layers. Import masks from Premiere Pro via Dynamic Link and work with After Effects, which gives you more options and power than Premiere.
SpeedGrade is Adobe’s color-grading software that provides layer-based color correction. SpeedGrade CC 2014 contains a more simplified UI, and now you can send or open Premiere Pro projects in SpeedGrade without exporting sequences as DPX stills or EDLs. Also, SpeedGrade supports new camera formats in Direct Link like Apple ProRes 64-bit, Blackmagic Cinema DNG, RED DRAGON with Rocket-X, Sony RAW and more.
One of the most popular features in SpeedGrade is SpeedLooks, and Adobe has added a number of new looks and camera patches in the Look Panel.