So it's such a common situation that there either wasn't a clapperboard or you don't have time to use the clapperboard. But the big new thing, is that now we're able to synchronize these different angles by audio waveform. Just like I could in 6, I'll select across these three clips, I'll right-click, and I'll choose Create Multi-camera Source Sequence.
What's new there?Īl: We did a lot of work with multicam in CS6, and really that was all about just simplifying the multicam experience, but here we've really focused on "What do people want to do? What would be the smoothest workflow for multicam?” So let’s say I have three shots. But what we hear, time and again, is, "Make the keyboard editing fluid and intuitive and fast," and that's really what we've tried to do. Now, if you're a mouse kind of a guy, feel free.
#Jvc clip manager pro professional
Shawn: And I think a lot of it too has to do with the fact that editors now are using laptops, and we don't have necessarily a mouse to work with anymore.Īl: Fast, professional editors are keyboard-driven, or at least the vast majority are. People are cutting with this product in earnest for 14 hours a day, and it makes a difference. What we're focusing on is, "If it takes three clicks, can we make it one? If it takes 10 clicks, can we make it three?” It’s about removing these little things that slow you down. You wanted to paste the attributes from one clip to the next, and you had to copy everything. Shawn: I know that the Paste Attributes one was one that I had challenges with. There are loads and loads of other keyboard-driven enhancements, like being able to select the clips under the playhead, move things around more easily, Paste Attributes functionality for moving effects from one clip to another. That seems like a small thing, but if you do something 1,000 times a day, it becomes enormous. A really good example of that is something that seems very simple: the ability to use a keyboard shortcut to nudge a clip up and down. Easier source patching, easier track targeting, and just a whole bunch of things throughout the UI of the timeline that help you when you're working on these big projects.Īlso, we've got many new keyboard-driven editing enhancements, and this is responding to some of the most common requests. Cleaned-up track headers, making it much easier to find the key things. If you're cutting a three-hour nature documentary and you can't remember if you've used the three-second shot of a bird on a tree, duplicate-frame indicators and through-edit indicators are going to help with that. More and more people are working on long-form projects in Premiere Pro. What can you tell us?Īl Mooney: One of the biggest features of this version is an area which I call “editing finesse.” We've redesigned the timeline and the way you engage with the timeline to be much more fluid and intuitive and to present key information visually to an editor. We're having a look at the next version of Premiere Pro. He is the product manager for Adobe Premiere Pro, and we're at NAB 2013.
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