Type a search term into Pro’s project panel and assets dutifully present themselves to you. But to shade and grade fast, right on the timeline, many pros turn to Red Giant’s Colorista.Īdobe speaks metadata fluently. Of course, you can also venture outside the Creative Cloud to the black magic of DaVinci Resolve for extremely critical tint-work (for fussy clients). Adobe recently wired it so you can tweak your master clips. If you grew up on curve bending, this will take some getting used to. SpeedGrade’s interface is a hierarchical tree of color wheels. But dynamically link your project out to SpeedGrade (opens in new tab) and you can paint with cunning delicacy or wild abandon. Dynamic Linking might be the single biggest raison d'être to go Adobe Premiere Pro over Avid’s Media Composer.Ĭolor grading in Pro, on its own, is neither brilliant nor particularly subtle. This teaming effectively replicates on your laptop what a half-million-dollar roomful of Silicon Graphics/Flame workstation could do a decade and a half ago.

Dynamic Linking is how you pass your works of art between Premiere Pro other Creative Cloud toolkits, particularly After Effects. The “great attractor” of Adobe, for visual artists, is that close family of tools that is Adobe Creative Suite/Cloud. You may have to monkey around with re-linking when you restart before all of your imported Avid clips find their way through the woods. But, to the company’s credit, Adobe seems to have addressed these and most similar issues quickly, if not completely.Īs a mostly Media Composer editor, I love that Premiere Pro can import Avid timelines. Examples include multi-cam editing, gamma curve replication, addressing older video hardware and others. Upon launching Creative Cloud, a few things immediately broke for many users.

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