This takes a little getting used to, if you’re familiar with the previous way of doing things, but it does make navigating through an edit with the mouse that little bit quicker. The separate scroll and zoom bars have been combined, with the latter removed from its position above the media tracks. Click on the information pop-up, and you’re taken straight to that location. There are icons to show whether a clip has an audio or a video track, and hovering over these tells you whether the clip has been used in a sequence. Hit the appropriate keyboard shortcuts, and you can even add or edit in and out points. If you click on the icon, a playback head marker lets you do this more precisely. For a start, now you can scrub through a clip preview simply by waving the pointer left and right inside its icon. If you’ve gotten used to working with the project panel in list format, there are a number of enhancements which could lure you finally to switch over to an icon view. But you might not want to, as the aim of the “two-up” default workspace and these enhancements is to maximise the space for the video windows, which is essential as format resolution continues to rise to 4K and 5K. You can customise the contents of this strip as well, even adding a second layer of buttons again if you wish. The jog-shuttle controls, a vestige of physical edit controllers, have been removed, so that now the buttons take up a single strip of space. The more significant change is the tidying up of the plethora of buttons around the video windows. Old projects will be imported with the old default workspace unless you reset them as well. But this is a slight red herring as this workspace was optionally available in previous versions, and you can switch back to the old default if you like too. The changes are made a little more pronounced by the fact that the default workspace now foregrounds the source and program monitor windows, an arrangement known as “two-up” that is much more in keeping with higher-end editing platforms. But with CS6 there is a major shift and modernisation. Before, the interface developed incrementally, with the underlying engine and features having the more significant changes. The differences from previous versions are obvious as soon as you load the application.
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Into this context comes the latest CS6 update of Premiere Pro, which doesn’t focus on cloud-based features as much as Adobe’s Photoshop Touch, but has plenty to offer of its very own.
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These two factors together have meant that Premiere Pro has made huge inroads where Final Cut – and Avid Media Composer – used to reign supreme. But at the same time, Apple has kindly made a significant portion of the market up for grabs, as the professionally-oriented Final Cut Pro was phased out, to be replaced by the much more “pro-sumer” Final Cut X. First came the CS5 and 5.5 releases with their new powerful 64-bit Mercury Playback Engine that provides true real-time editing performance. If you want one editor that does it all, this is the one.Adobe Premiere Pro has received a dual boost over the last couple of years. Meanwhile, its vastly superior animation, better support for nested sequences, faster preview engine and more impressive effects justify its higher price. Premiere Pro takes a different approach, with lots of tremendously powerful tools, each of which takes a little time to master, but which build up to an efficient editing environment. It’s less sophisticated but its streamlined set of tools shift the technicalities of editing to an almost subconscious level. We still marginally prefer Vegas Pro for basic editing tasks. The new Warp Stabilizer effect, inherited from After Effects 5.5, provides the best stabilisation for camera shake we’ve seen to date. The Three-Way Color Corrector effect gains finer control over the crossover between the three bands. Unlike Photoshop’s limited set of adjustment layer effects, virtually all Premiere Pro’s effects can be used in this way, including distortion, blur and keying effects. It’s ideal for applying colour correction to a group of clips, stacked either horizontally or vertically. The highlight is the introduction of adjustment layers, which sit on a track and apply effects to all the video tracks below. There’s a smattering of new and improved creative tools. The Three-Way Color Corrector effect is better than ever