Still some inconsistencies in desktop application interface và controlsLumetri Color overlaps with other color tools

Our Verdict

With this version, Adobe is making a clear effort lớn bring in tools usually found in other Adobe applications. This makes Premiere Pro closer lớn being a one-stop video clip editor.

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Use Adobe Hue CC to capture color looks from camera shots; press on the color balloons to lớn adjust the look before uploading khổng lồ your Creative Cloud library.

Last year, as I was sprinting down the street trying to lớn stay ahead of six angry bulls in Pamplona, Spain, I held my phone behind me khổng lồ capture some Clip of the experience, all the while thinking, how am I going to lớn color-correct this video? And then I looked up at the beautiful old buildings facing the street & thought, hey, that palette would really work well with the talking-head videos I had been editing in my khách sạn room the night before. But how to lớn capture those colors and reuse them? Thankfully, Adobe has solutions for these vexing problems in the lachạy thử version of its video-editing application, Adobe Premiere Pro CC năm ngoái.


Create looks with Adobe Hue CC, & they will become available in Adobe Premiere Pro CC 2015’s Libraries palette.

Okay, so I didn’t run with the bulls—I was busy climbing Mt. Everest at the time—but if I had, I could have used two iOS applications, Adobe Premiere video clip và Adobe Hue CC, which attempt lớn exp& đoạn Clip editing beyond the desktop. Adobe Premiere video clip has been around since last year; it allows you make simple edits lớn video clip on your phone và then upload the composition to Premiere Pro, which will retain the edits and let you make additional ones. Hue CC is new; you can use it to take photos và capture their “looks”—color hue sets—which you can then import into Premiere CC và apply them lớn other videos. So, for example, you could capture a cold, cloudy beach, with its blueish, muted colors, and apply them lớn a nice, short Clip of a large bull chasing you.

Pick a color


The new Lumetri màu sắc palette lets you create looks and see a pĐánh Giá of how they’ll look on your video clip.

You can create looks in Premiere Pro CC 2015 by using a new Lumetri Color panel. Premiere Pro picked up the Lumetri Màu sắc engine from Adobe SpeedGrade in 2013, but then, you couldn’t create looks in Premiere Pro; you had to create them in SpeedGrade. Now, you can import và export look files in Premiere Pro, but only using the Lumetri Color panel. In the Effects panel, you’ll find Lumetri Presets—but you still can’t add any khổng lồ this danh sách unless you use SpeedGrade.

However, if you drag a Lumetri Preset to a Clip on your timeline, it appears in your Effects Control panel as a Lumetri màu sắc effect, và you can edit it there. You can access looks from your Libraries panel, which pulls from your online Creative Cloud account, but they vì chưng not show up as options in your Effects panel or even the Lumetri Màu sắc panel. They will appear in the Lumetri Màu sắc panel once you’ve sầu dragged them from your Libraries panel to lớn your timeline video clip. You cannot import a look by using the Lumetri màu sắc panel; you can only vị so by using the Libraries panel.

The Lumetri màu sắc panel has a large number of controls, many of which overlap with other color controls—some are even named the same—but they often don’t do the same thing or with the same power. For example, you can add the Three-Way màu sắc Corrector as an effect to a video, và you can add Lumetri Màu sắc as an effect, too. Both have sầu color wheels for shadows, midtones, và highlights, but using similar settings in each & then toggling between them will show dramatically different results. Furthermore, the Lumetri màu sắc panel uses check marks to lớn enable or disable settings, whereas most other effects use the “fx” inhỏ. You cannot phối keyframes in the Lumetri Màu sắc panel, either; for that, you must use the Effects Controls panel.

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The Lumetri Màu sắc effects và the Three-Way-màu sắc Correct effect offer the same color wheels, but they work differently.

The point of the Lumetri màu sắc panel, I think, is not color correction, though you can certainly use it for that. Premiere Pro CC 2015 has plenty of color correction tools, including the aforementioned Three-Way Color Corrector. Rather, I suggest that Lumetri màu sắc is better suited for creating & applying bold, atmospheric styles, feels, looks—sepia, noir, cold và gray—not for trying to achieve sầu spot-on, accurate color. Think Minority Report or Sin City, not the nightly news.

Premiere Pro CC 2015’s updated task-oriented workspaces are a little more useful than workspaces in the past. You can still switch aước ao them, choosing from standbys like Editing, Effects, or Audio, and a new màu sắc one, all of which are optimized for their respective functions, & you can create your own custom workspaces. You don’t have sầu lớn go khổng lồ a menu, either—a các mục appears in a small horizontal menu at the top of the screen.

A little magic with the makeup


New task-oriented workspaces are more-optimized workspaces for certain task sets.

Adobe has added two new features to lớn help your talking-head videos shine. Face Tracker lets you draw a mask on a face and then apply effects to lớn the mask, even as the face moves (within limits, of course). This seems like an enhancement of the Masking và Tracking feature introduced in Premiere Pro 2014, which was mainly for applying identity-hiding masks. Now, you can use it for more precise effects, such as-changing eye color, applying a nice chảy, or making steam burst from one’s nostrils. As with most such effects, I found that it worked best with a person looking directly at the camera. A fun extra: You can export the Face Tracker data for use in Adobe’s new Character Animator, a feature found in Adobe After Effects CC năm ngoái. You can make weird facial expressions, save them, then apply them lớn an animated character, which will then mimic your expressions.

When editing talking-head Clip, often we want to lớn edit out the ahs, ums, và the boring parts—which doesn’t leave much left over, but you work with what you’ve sầu got. Premiere Pro’s new Morph Cut can help disguise the transition between two clips—but only if they are of people’s faces. It won’t even let you try it on, say, beach scenes. I found that it worked well as long as the face in the preceding clip was positioned cđại bại lớn where it was in the subsequent clip.


Need khổng lồ output a video clip file of a specific duration? Hit the target with Time Tuner, a feature in the Media Encoder.

If you’re faced with the opposite problem—your talking head blathered on too long, và you have to lớn hit a precise Clip duration—then the new Time Tuner option in the Media Encoder may help. You can enter a duration change of up lớn 10 percent, plus or minus. If you prefer, you can just set an exact duration, and Premiere Pro CC 2015 will add or remove sầu frames khổng lồ hit that target. Whichever method you choose, it will not let you exceed 10 percent, which is probably good, because even a 5 percent increase in duration caused occasional, obvious interpolations in my exported đoạn Clip. A 3 percent decrease looked better, but I could still see some artifacts, but perhaps that’s because I was looking for it.

Bottom line

Premiere Pro CC 2015 is becoming more than an application where we dump all of our assets và then work on them in just that small box. It makes sense to bring the đoạn Clip editing tools closer khổng lồ the actual captured video, and lớn expand our creative options beyond the desktop (or máy tính, of course). The integration still feels a pretty clunky at times, but I lượt thích the direction.