If you’ve been caught in an embarrassing situation by the local 6 o’clock news crew, then you’ll appreciate that professional đoạn Clip editors often must protect the innocent by obscuring people’s faces in broadcasts, & in some cases, they may need to avoid trademark infringement by blurring company or product logos. A new feature in Adobe Premiere Pro CC 2014 can make that a much less tedious task.
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Premiere Pro CC 2014 lets you designate a “master clip,” to which you can apply effects that are then applied to lớn all instances of the clip on your timeline.
Bad boys, bad boys
You’ve seen it on “Cops,” on “20-20,” even on the local television news—blurred-out faces of people, or blurred-out logos (or offensive sầu statements) on subjects’ T-shirts. Why? It can be khổng lồ avoid revealing a confidential source, to get someone to lớn talk on camera who wouldn’t otherwise, or simply lớn prevent a known—& litigious—brand from being accidentally associated with a controversial subject. (Would you want your company’s hình ảnh seen plastered on the chest of a just-arrested arson suspect?)
The blurring process can be challenging in đoạn Clip, but Premiere Pro CC’s new Masking and Tracking features alặng to make the process a tad easier. Select a clip in the timeline, add an appropriate effect (for example, Mosaic) to the clip, cliông xã a button in the Effects Controls panel to create a mask, then rekích cỡ & position the mask over the offending portion of the video clip. Cliông chồng another button to analyze the clip. As Premiere Pro analyzes, it creates a series of keyframes—one per frame.
With Premiere Pro CC 2014’s new Masking and Tracking feature lets you implement a simple mask to lớn obscure faces, và then it will traông xã that mask as your subject moves.
The process was a little slow on my getting-up-there workstation—about a frame per second—but with the right clip, it worked pretty well. The “right” clip means one in which the subject doesn’t turn away from the camera or go behind other objects, though some head movement seemed to be okay. If the subject does go behind an object, you’ll have to lớn stop the operation, move the playhead khổng lồ a point where the subject is visible, & continue the operation. If you want khổng lồ obscure multiple subjects, then you must create multiple masks, and perkhung the tracking operation multiple times. The key lớn success with this procedure is lớn position the mask over relatively constant portions of the frame—inside the borders of a face, or over the solid background of a T-shirt.
As with previous versions, you can incorporate motion graphics created in Adobe After Effects into Premiere Pro projects. Now, however, you can edit the text of those graphics without leaving Premiere Pro. You must have sầu After Effects installed, too, và you must have enabled an option to lớn unlock the text layers in After Effects before you add the graphics composition, but if you’ve done that, you can see the text layers as lines in a Premiere Pro panel, in which you simply retype what you want.
You can’t change text properties or spacing, and you certainly can’t change anything else in the After Effects composition. But this feature can be really useful if you often reuse graphics—và, say, all you want to vày is change the date or a name. If you vày need khổng lồ update colors or other elements of your motion graphics, you’ll have to do so in After Effects, but when you vì so & save your work, the graphic, of course, will get updated automatically in Premiere Pro.
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For you to be able lớn make text edits to lớn After Effects compositions, you must have sầu After Effects installed & the “Template (unlocked text layers editable in Premiere Pro” option turned on in After Effects.
I am your master
A useful feature in Premiere Pro is that you can select a clip in the timeline, then use “Paste attributes” with other clips in the timeline khổng lồ copy all of the first clip’s effects and effects implementations. Using this feature can ensure some consistency, but it can be time-consuming, và if you change one clip’s effects, you have to go baông chồng & use Paste attributes all over again. But now Premiere Pro lets you designate a “master clip”: Display a clip in the Source window, drop effects onlớn the Source window (not the timeline), và wherever that clip appears in the timeline, the same effects & effects implementations will be seen. It has lớn be one clip; you can’t “link” different clips. Premiere Pro still has adjustment layers, which affect multiple clips under them in the timeline, và you can still add effects khổng lồ individual clips in the timeline, of course.
Adobe touts new TypeKit tư vấn in Premiere Pro CC năm trước, but really, it’s just a new liên kết under the Title menu that says Add Fonts from TypeKit. Clicking it opens TypeKit.com in a browser window; there, you can select open-source fonts for không tính phí. But it all happens outside of Premiere Pro—unlượt thích in Dreamweaver CC năm trước, which provides a fonts display window. Any fonts you select on TypeKit.com get synced with your system via the Creative sầu Cloud application, not Premiere Pro; afterward, you can use the fonts with any of your applications, not just Adobe ones. You’ll need lớn restart Premiere Pro before you can use the fonts.
You can now make simple text edits khổng lồ After Effects motion compositions in your Premiere Pro projects.
Now that 1080p content has become old-school, it’s nice khổng lồ know that Premiere Pro is improving its ability lớn handle 4K truyền thông. It supports GPU-accelerated debayering (processing or converting) of Red 4K truyền thông media, so you don’t need Red’s dedicated $4750 expansion card for that. Adobe says you’ll still get “slightly better” performance with Red’s card, but GPU acceleration should be loads faster than software-based processing. Premiere Pro CC 2014 formally supports GPU acceleration with even more graphics cards, too, but it still allows you khổng lồ turn on GPU acceleration with almost any graphics thẻ that has a minimum of 1GB of VRAM.
When I installed Premiere Pro CC năm trước, it did not replace Premiere Pro CC, its predecessor; you’d think that a so-called cloud-based application would simply update itself. Adobe says this was a conscious decision made because projects that have been created or even opened & then saved in Premiere Pro CC 2014 cannot be opened in Premiere Pro CC, & certainly not in Premiere Pro CS6, if you’re clinging to that version. See a features comparison of Premiere Pro versions. The only difference between the Mac & Windows versions of Premiere Pro CC 2014 is that you can’t encode to lớn Apple’s ProRes codec on Windows machines.
Bottom line
I don’t have sầu any significant gripes about Premiere Pro CC 2014, but even if I did, it’s possible that they might be addressed as soon as I opened my mouth: The application received significant updates in June, July, & December 2013, and again in June năm trước (this release). It’s a cloud application that doesn’t actually live in the cloud or provide access to lớn cloud-based processing power, but it is certainly reaping the benefits of a cloud application’s update schedule.
