Proxy Workflow Improvements with visual badges in timeline and project panel to make it clear if you are vieweing proxies, and you can now add watermarks on your proxys as you make them, and even better the default proxy setting is no ProRES instead of H.264.
For me the Proxy workflow improvements are the best thing here, though the gradients is not a bad thing. New workspaces are great, but I always build my own.
I am glad to have a creative cloud Frame.io account, and have been using Frame allot at work. I still think the direct from camera is more for features or tv than the commercials I work on, but it is very cool.
IFrame.io’s work from home features with built in proxy generation needs better Adobe integration. It doesn’t currently work with Adobe’s proxy feature, so files must be manually relinked (and Adobe’s proxy workflow won’t work with only proxys), and if you use low rez proxies for size moves and the like don’t scale, everything would need to be redone manually. Let’s hope Adobe works on this with Frame . And I hate H264, and h264 proxies. ProRes Proxys are so much better (i know they take up more space, but they are do much better), timelines play back great with any ProRes and even with M1 ProRes processors.
Distribute objects in titles and graphics so they are equally distant from each other.
10x faster exports for 10-bit 4:2:0 HEVC on Mac OS for Intel and M1 systems.
Select HEVC from the Format drop-down under Export Settings to enable this option. Then under the Video tab, go to Encoding Settings. If the system supports hardware encoding, the Performance field is set to Hardware Encoding. Set the profile level to Main 10. Setting it to Software Encoding will disable hardware encoding, and Adobe Premiere Pro won’t use hardware to encode the media.
On Apple M1 systems, HEVC HLG 4:2:0 10-bit encoding still encodes via software.
10x faster exports for 10-bit 4:2:0 HEVC on AMD
To enable this option, select HEVC from the Format drop-down under Export Settings. Then under the Video tab, go to Encoding Settings. If the GPU card supports HW encoding, the Performance field will be set to Hardware Encoding. Set the profile level to Main 10. Setting it to Software Encoding will disable hardware encoding and Adobe Premiere Pro won’t use AMD hardware to encode the media.
Improved Quicktime screen recording playback
Smart rendering improvments
HDR Proxies
Nice, the HEVC speed icnreases sound amazing, though it is still a format that I don’t use much except for capture on my iPhone.
Paste To Same Track is the new default, which is the behavior that I want 90% of the time. I love this because I place things in specific tracks, having a very organized timeline, so I usually wants things to just go where they were in a different place in the timeline.
Old BehaviorNew Behavior
And you can also Paste Insert, as well as Paste to Target Track and Paste Insert to Target Track which can also be added to keyboard shortcuts.
In past Red Giant has also released in depth videos showing off how to use the new features, but unfortunately it looks like they haven’t done that this year. Hopefully this isn’t how things will always be with the now Maxon owned company, bug I have the feeling it is. I guess will just have to play around.
The video for Real Lens Flares looks good, but will have to see if it is better than optical flares from Video Copilot.
Excitingly it includes Frame.io Integration and thus Camera to Cloud support, you just login with your creative cloud ID and you get a 100GB account, of course it isn’t free as creative cloud has gone up $2 a month, but still cheaper than buying your own account.
I was at a company that was trying to test using Creative Cloud for offline edit workflows, and it was an interesting experience. Not quite there, especially how it creates it’s own h264 previews and you can download low and high, but it isn’t really a remote editing solution yet, but still a powerful review software.
And the biggest feature isn’t the redesign of the Import and Export panels and the new preset manager, and the new header bar, which have been being tested in beta for a while now.
ImportExportExport Preset Mananger
I still think there is too much twirling down to be done in the presets for export, which is more clicks, which I am never for.
At least the new Header Bar has been listened about and you can now show 3 workspaces as well as Import, Edit and Export. In their original implementation the workspaces were all in another menu, which is slower, when only real beginners need Import, Export all the time.
Auto Color powered by Adobe Sensei should help beginners get a quick starting place for color correction, unlike the old version. This was cvalled Auto Tone in the beta, and is a powerful start to color correction, if only Adobe would bring back a full Lemtri color suite like SpeedGrade.
And the new show hide Marker colors very cool for those who use a lot of markers, like me, when I log footage I use makers instead of subclips.
Other new features include Speeech to Text for Cantonese, Trim Playback Looping from Playhead instead of nearest edit, a Remix Progress indicator, Support for Sony Venice 2, Change est Size in text Panel, and customized clip name in EDL exports.
