Pre­miere El­e­ments 14

Video ed­i­tor gets 4K up­date

Mac Format - - RATED -

When iMovie no longer cuts it but Fi­nal Cut Pro is a lit­tle too much, Pre­miere El­e­ments has al­ways stepped in to be the mid-range re­place­ment that doesn’t take too long to learn or cost the earth. This version is in­tended to get your movie started quickly, with a full timeline ed­i­tor if you want it, but most of its fo­cus is on Guided Ed­its that take you step by step through turn­ing a few clips into work that feels pro­fes­sional – al­beit of­ten in generic ways. You start out let­ting Pre­miere make the movie for you, then tweak it, and hope­fully progress to work­ing as you would in Pre­miere CC (but with­out many of its more ad­vanced fea­tures, like hav­ing mul­ti­ple se­quences per timeline).

The big ticket ad­di­tion this time is sup­port for 4K video, which is more use­ful than it may sound. Very few of us have TVs or desk­top mon­i­tors ready to take ad­van­tage of this, but if you have the iPhone 6s then you can al­ready record it. It of­fers great qual­ity at na­tive res­o­lu­tion, but there are other rea­sons to shoot in 4K – to get more of a scene that can be cropped down to the pop­u­lar 1080p stan­dard, or for more eas­ily sta­bil­is­ing footage by offering more that can be cropped out. Pre­miere El­e­ments, though, im­ports footage at cur­rent res­o­lu­tion and makes that 100% scale as far as the project is con­cerned, with no ap­par­ent way of treat­ing it as the larger footage that it is. Still, it’s worth shoot­ing in this for­mat if you can, as sim­ply shrink­ing 4K down (down­sam­pling) usu­ally looks bet­ter than 1080p video.

The rest of the toolset han­dles ev­ery­thing you’d ex­pect it to, in­clud­ing or­gan­is­ing video, tweak­ing the sound (though for best re­sults, you’ll still want to run au­dio through some­thing like Au­dac­ity), adding ti­tles (and new Mo­tion Ti­tles with an­i­ma­tion pre­sets) and, of course, the usual ef­fects and tran­si­tions that ev­ery film­maker should sign a con­tract swear­ing never to use. More com­plex ef­fects like pop­ping a

All of th­ese tools make Pre­miere El­e­ments an ex­cel­lent, if some­what stag­nant, video ed­i­tor for home use

sin­gle colour, such as a red coat, and leav­ing the rest in mono­chrome, are han­dled via Guided Ed­its, which also help ex­plain more com­pli­cated sub­jects like mask­ing out parts of the im­age and ma­nip­u­lat­ing time. There’s also the Videomerge ef­fect for ba­sic chro­makey ef­fects, though you’re un­likely to get a clean cutout us­ing it with its lim­ited op­tions, even with proper light­ing and a green screen. For ba­sic com­po­si­tion and home pur­poses though, it’s fine.

All of th­ese tools make Pre­miere El­e­ments an ex­cel­lent, if some­what stag­nant, video ed­i­tor that’s not too dif­fi­cult a jump for home use. That said, if your am­bi­tions stretch much be­yond hol­i­day videos and YouTube, you will likely do bet­ter at this point bit­ing the bul­let and in­vest­ing in the more pro­fes­sional fea­tures of Fi­nal Cut Pro. Richard Cob­bett As ever, an ex­cel­lent choice for video edit­ing, but lack­ing the sense of in­no­va­tion that it once of­fered.

The In­stan­tMovie fea­ture is handy for cre­at­ing stylish films, and Adobe even throws in some free mu­sic.

Some ef­fects are com­pelling, but if you find your­self us­ing lens flare, slap your wrist.

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