Category Archives: Premiere Pro
With the upcoming Premiere Pro CC 2014.1 update, we’ll have a really powerful Free Draw Bezier, or pen tool built into all of our effects. This includes Lumetri Looks, and looks presets like Color reTooled. With this tool, we can mask, track, and even control the opacity of various effects. In this video, we look at the workflow of doing simple color correction using this new tool in combination with Color reTooled. We demonstrate how even a color correct novice, can quickly do advanced color grading right in Premiere Pro.
If you want to purchase Color reTooled, go to our site:
Please remember Color reTooled is compatible with Premiere Pro CC or later, but the free draw bezier tool is in the upcoming CC 2014.1 update.
Another big feature coming to the upcoming Premiere Pro CC 2014 release is one that hasn’t gotten much attention. However, I think it is a huge improvement to export, transcoding, and rendering workflows in Premiere. That is the ability to pass through source settings like frame rate, frame size, and field info into your quicktime export (some other formats as well). So whether you are transcoding footage to another codec, exporting your timeline to quicktimes, or using the new Consolidate and Transcode, this is a key new feature.
IBC is just around the corner, and with that comes what seems to be Adobe’s bi-yearly tradition of major updates to the video applications.
There is so much to cover in this update to Premiere CC 2014, so let’s dive right in. Remember to read to the end because I will definitely save some of the best for last.
This isn’t one of our usual video tutorial posts. It is in fact not even a piece of information that we want to share with you. It is more of a question than anything else?
How do you guys deal with relinking in Premiere Pro? Now, one obvious answer might be to use our product, reLink reTooled. reLink reTooled was created to facilitate certain workflows in Premiere Pro and Final Cut Pro 7, and make it easier to relink files with different lengths, filenames, etc. It was more designed for an offline to online workflow with color corrected finals or an effects workflow where clip duration and file names are likely to change all of the time. I understand why this type of workflow is harder for the NLE makers to address. It involves complicated combinations of metadata based relinking.