Adobe has announced some nice upgrades for Adobe After Effects and Premiere Pro as part of a major Creative Cloud video tools update. Premiere Pro sees new workflow and performance increases, along with support for Rec2100 HDR editing. After Effects gets new 3D Transform Gizmos and camera navigation tools.
Adobe After Effects hasn’t seen a big update in a little while, and it seemed to have been skipped over during last month’s big update – although, even if it had, the new app icons would’ve still probably stolen the show. But a little teaser was posted about an upcoming feature – the AI-powered Roro Brush 2.0.
The new tool is now available in the latest public beta of After Effects, and Jordy and the team at Cinecom took it for a spin. If their video is anything to go by, it looks pretty incredible and may potentially negate the need to ever use a green screen again for a lot of shots.
It was only six weeks ago that Apple released a beta plugin to allow Adobe Premiere Pro, After Effects, Rush and Media Encoder to read video files recorded in ProRes RAW. Now, it seems that plugin is no longer necessary as Adobe has just announced native ProRes RAW support for both Premiere Pro and After Effects in the latest update.
As well as ProRes RAW support, Premiere Pro also gets an improved pen tool and finally sees GPU acceleration on Windows for h.264 and h.265 (HEVC) files with both Nvidia and AMD GPUs – which should massively speed up those renders. After Effects gets a new “tapered shape stroke” feature, as well as concentric shape repeaters.
Back in January, Adobe announced Productions – a new tool which allows Premiere Pro CC users to more easily collaborate in post-production and editing. They say that it improves the workflow for feature films, broadcast and web-based content while working in teams in various locations, but also when working on your own, too. Now, Productions and Team Projects are available for Premiere Pro and After Effects CC users, the latter of which is free until August 2020.
ProRes RAW was lauded as a high-end raw video codec for high-end video shooters and editors. But it had one fatal flaw; You could only edit it with a Mac. Well, now that appears to be changing as Apple has released a beta of Apple ProRes RAW for Windows which adds ProRes RAW support to some of the applications in the Adobe CC suite including Premiere Pro, After Effects, Rush and Media Encoder.
It’s been a while since we’ve seen a video from Matthew Vandeputte, but now he’s back with a good one for all you aspiring hyperlapse shooters that don’t have high-end cameras and lenses, gimbals, or other expensive and fancy gadgets.
During a recent social media meet up in London, Matthew borrowed a friend’s Canon EOS 200D (Rebel SL2) with the 18-55mm kit lens to provide us with some tips to show us how we can shoot hyperlapse sequences with very inexpensive equipment.
The whole web seems to be buzzing with talk about The Mandalorian right now. After finally watching it, and realising it wasn’t a show about a “Half man, half Delorean“, I can see why. I’m not going to post any spoilers here, but if you haven’t seen it, and you’re at all a fan of Star Wars, you should. It’s probably the best thing they’ve done with it in a while.
One effect of Star Wars, that’s pretty much as old as the Star Wars franchise itself is the iconic blaster. They’ve been shot by everybody over the years, so it’s no surprise they show up in The Mandalorian, too. In this video, Yannick at Cinecom shows us how to easily make them in Adobe After Effects.
Green screening (also called chroma keying) is a very useful skill to have when shooting video. Even if you’re not using an actual grey screen, it can be handy to know how to easily mask out a particular colour, and composite something else in its place. In this video, Jordy at Cinecom walks through the top five things he’s learned when it comes to getting a good key.
Adobe has posted a short but to the point blog post stating that many older versions of Creative Cloud applications will be removed, limiting availability to only the two most recent major versions of each (except for Acrobat – which will only allow the latest version) and their minor updates. This is an attempt, Adobe says, to help keep users updated with the latest features as well as ensure critical bug fixes and security updates are applied.
The latest Creative Cloud update from Adobe brought with it a lot of new features, changes and fixes for the whole suite. Three of the biggest are content-aware fill for video in After Effects, Freeform view for Premiere Pro and some pretty massive GPU performance upgrades. DIYP spoke with Adobe at NAB 2019 about these new updates and what they mean for users.