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1. #TRACKING MFLARE N PREMIERE PRO 2018 UPDATE#
2. #TRACKING MFLARE N PREMIERE PRO 2018 PLUS#
3. #TRACKING MFLARE N PREMIERE PRO 2018 PROFESSIONAL#

The Reference is on the left and the Current frame is on the right unless you choose to swap them with the Swap Sides button. You get what you’d expect from most any comparison view: Side by Side, Vertical Split and Horizontal Split. Comparison View is also a necessity with the new Color Match feature.Ĭomparison View is entered by clicking a new button under the Program monitor, heading to the wrench menu or entering from with the Color Wheels & Match section of the Lumetri Color panel. It’s also great for comparing a current shot to an older version of itself so you can see what changes you’re making to color, graphics or effects before you actually commit to those changes. Something similar was already possible with the Reference Monitor but this means you’ll actually use it. But Comparison View is nice!Ĭomparison View is a one button way to compare a current shot to another shot in the timeline.

#TRACKING MFLARE N PREMIERE PRO 2018 UPDATE#

Yes I know that the new Comparison View is probably the signature feature of this new PPro update but IMHO the Timecode window trumps that for many workflows. Those Avid shows that might be moving to Premiere are going to love this.

#TRACKING MFLARE N PREMIERE PRO 2018 PROFESSIONAL#

I never thought I’d spend 380 words writing about a timecode window in an NLE but it goes to show how much these seemingly little feature additions can be very, very useful for professional workflows.

#TRACKING MFLARE N PREMIERE PRO 2018 PLUS#

This is true but you can’t display the different frame rate counts plus … this new option is Timecode in its own panel and not obscuring the viewer. I’m sure some will think that we’ve had this all along by turning on the Overlays under the Program and Source wrench menu. Like most things in PPro there is a keyboard shortcut for these new timecode presets. Rearranging the Timecode panel into a different panel placement is a bit tricky as you have to grab it just right in the tiny space above the top display. Luckily we can save a preset for a setup we like. There is no way to rearrange the lines so take some care on complex setups. A right+click on the display brings up a submenu for display options and formats.Īdding a new data line places that new line at the bottom. Setting up the new Timecode display will be what takes some time. This is important as the IN/OUT durations will be different. That means you can set it to display the IN to OUT range at something like 29.97 drop frame when your sequence is 23.976. These off native sequence timecode rates can be set for any of the sequence parameters. Off timecode counts are displayed in yellow. This is a much needed feature for things like broadcast television where editors often need to see and count timecode in 29.97 drop frame even though they are offlining in native frames rates like 23.98. The Timecode window will reflect both the Program and the Source monitor.Ī hugely important addition is the ability to count timecode in different formats. There’s also the ability to display source timecode data for clips in all audio and video tracks. There are things you’d expect from a proper timecode tool like Master timecode, IN to OUT durations, sequence durations and time remaining.

The operation will be quite similar to those coming from Avid Media Composer. This new update updates that Timecode window with a slew of display options. TimecodeĪdobe Premiere Pro has always had a timecode window under the Tools menu but it’s been limited. All that technology is filtering down into Adobe’s shipping products and we get some fruits of the Sensei labor in Premiere Pro.īut I’ll start this off with a new Sensei-less feature that many might think is the most boring thing Adobe engineers could add while in reality it’ll be one of the most welcome additions for those editors working in broadcast television and feature film: the updated Timecode panel. If you’ve watched any Adobe MAX keynotes over the last few years you’ve seen Adobe Sensei at work with some of the feature and future-feature demos they’ve showed. Those utilize some of the often talked about by Adobe magic they call Adobe Sensei. This NAB season is no exception and while PPro doesn’t get a lot of big, never-before-seen, long-in-the-making, Earth-shattering new features we do get several nice enhancements to some existing tools.

Trade show time! You know what that means, it’s also time for another big update to the Adobe Creative Cloud suite of video tools and, of course, Adobe Premiere Pro.