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Adobe
Software Premiere Pro CC for Mac
MFR #Premiere-Pro-CC-Mac
Τιμή:
€ 247.79 + ΦΠΑ
Online τιμή:
€ 237.88
+ ΦΠΑ
✓ Σε 6 άτοκες δόσεις ή μέχρι 36 έντοκες δόσεις.
- Editing Software for MAC - 1year
- Superior 4K/2K/HD/SD workflow
- Sony XAVC , XAVC S support
- Panasonic AVC-Ultra/AVC-Intra support
- Canon XF-AVC Support
- ARRI AMIRA, Sony SStP, Canon RAW & CinemaDNG Support
- 4K, 5K and 6K RED Support
- Industry-leading tools
Premiere Pro CC for Mac
Keep your masks on track.
New masking and tracking features — including a free-draw Polygon Pen tool — make it easy for video editors to blur out faces, logos, license plates, or anything else throughout a scene.
The Masking and Tracking feature in Adobe Premiere Pro CC makes it easy to creatively obscure or blur out a portion of a frame — such as a person walking across a scene or the license plate on a moving car. These features bring full masking and tracking abilities to all visual effects in Premiere Pro
Plays well with After Effects.
Premiere Pro and Adobe After Effects are more tightly integrated to speed up your workflows. Edit text in After Effects compositions right inside Premiere Pro, and share tracked masks and other assets between the two apps via Dynamic Link.
After Effects compositions can “live” in a Premiere Pro sequence. Changes made in After Effects are immediately reflected in Premiere Pro using Dynamic Link. This technology gives users a render-free editing and graphics workflow.
There are certain graphics operations that editors do so regularly that presenting them inside the non-linear editor is preferable to switching (even momentarily) from one tool to another, because it allows them to stay in the editing mindset.
Live Text templates enabled by After Effects behave exactly as you'd expect: Text fields show up in the Effect Controls panel in Premiere Pro as simple text fields that you can edit as necessary. This feature addresses a common workflow where you need to change the text in a motion graphic that was designed originally in After Effects, such as a lower-third. The following visual tutorial shows you how simple this feature is to use.
After Effects compositions can “live” in a Premiere Pro sequence. Changes made in After Effects are immediately reflected in Premiere Pro using Dynamic Link. This technology gives users a render-free editing and graphics workflow.
There are certain graphics operations that editors do so regularly that presenting them inside the non-linear editor is preferable to switching (even momentarily) from one tool to another, because it allows them to stay in the editing mindset.
Live Text templates enabled by After Effects behave exactly as you'd expect: Text fields show up in the Effect Controls panel in Premiere Pro as simple text fields that you can edit as necessary. This feature addresses a common workflow where you need to change the text in a motion graphic that was designed originally in After Effects, such as a lower-third. The following visual tutorial shows you how simple this feature is to use.
No transcoding. No rewrapping. No, really.
Edit virtually every major video format natively in Premiere Pro, including GoPro H.264, ARRI AMIRA, Sony SStP, Canon RAW, and CinemaDNG media. Plus, use Adobe Media Encoder to transcode to high-performance GoPro CineForm with smart rendering.
The 2014 release of Premiere Pro CC enables you to work with the vast majority of formats natively — including 4K, 5K and 6K RED media, XAVC, ProRes, and DNxHD — without transcoding or file rewrapping. Premiere Pro recently added support for Sony SStP and Canon RAW, and significantly expanded support for CinemaDNG formats.
That means you can mix formats on a single timeline and still expect the best-quality performance on a well-configured system — that is, a multicore CPU and modern GPU with a minimum 1 GB of video RAM and high disk throughput.
That means you can mix formats on a single timeline and still expect the best-quality performance on a well-configured system — that is, a multicore CPU and modern GPU with a minimum 1 GB of video RAM and high disk throughput.
Enhanced graphics performance
The Mercury Playback Engine takes full advantage of supported GPUs so you get smoother playback without rendering. With new support for the Intel Iris architecture found in current Apple MacBook Pro machines as well as Microsoft Windows configurations, the Mercury Playback Engine is now available to more editors.
Debayering with supported GPUs
GPU-based debayering for CinemaDNG and RED media is also supported, providing significant performance enhancements when you work with those formats and a supported GPU.
ARRI AMIRA workflow
If you work with footage from the new ARRI AMIRA camera, you can take advantage of a powerful new workflow where LUTs created in-camera are automatically applied as Master Clip effects on ingest.
Go from editing to grading with flying colors.
Direct Link lets you send Premiere Pro projects directly into SpeedGrade for color grading, and then send them right back into Premiere Pro for more editing. It's seamless roundtripping — no transcoding or dealing with interchange formats.
You’ve probably shot video that has the appearance of being too warm (orange) or too cool (blue). Maybe you’ve wanted to combine video from different cameras whose footage has different visual qualities. Well, you’re in luck. Adobe SpeedGrade CC comes with a variety of features to help you correct colors, match the color between shots, and add stylized looks. Even better, you now can import your video projects into SpeedGrade directly from Adobe Premiere Pro CC.
Before you jump headfirst into color-correcting your clips, it’s helpful to understand a little about color grading. You’ll also need to open the tutorial project in Premiere Pro and send it to SpeedGrade using the Direct Link feature. In addition, you’ll get a brief introduction to the SpeedGrade user interface.
Often the video you shoot will be warmer or cooler than you prefer. The RGB parade scope is one of several analysis scopes you can use to see a representation of how warm or cool the clips are in your project. You can then use the temperature slider to adjust the shot on the primary layer’s overall setting. Finally, you can make fine adjustments to the highlights, midtones, and shadows of the shot using the various slider and trackball controls.
Digital video and traditional film have subtle differences, such as the amount of detail that is preserved between changes in color or luminance (called “roll off”). SpeedGrade ships with several film stock effects that can help you achieve the look of film when applied to your digital video, so your project looks like it was shot on film. You can use a film stock by itself or apply one before or after a custom grade. If you apply a film stock after a grade, be sure to put it on a new Look Up Table or LUT (pronounced “lutt”) layer in the Layers panel. Otherwise, the film stock will delete and replace your existing grade layers.
A “look” is the composite of all the color and grade changes applied to the layers in the layers panel for a specific clip. SpeedGrade allows you to create and save looks, which you can then apply to other clips in your project. This is a huge timesaver if you have many clips in your project to which you need to apply the same look. The Shot Matcher tool allows you to take the look from one clip and apply it to another clip in your project.
The final step in grading your video project is to send the project from SpeedGrade back to Premiere Pro. This takes all the grades that you applied in SpeedGrade and adds them as Lumetri effects in Premiere Pro — where you can still turn them off and on in the Effect Controls panel. Save the Lumetri effects as a preset, so you can continue using them in the same or other projects.
Once you’ve reviewed your work, export the project from Premiere Pro or queue it in Adobe Media Encoder for exporting. Either way, you have a wide variety of export formats to choose from including many presets for common video hosting services, such as YouTube and Vimeo.
You’ve probably shot video that has the appearance of being too warm (orange) or too cool (blue). Maybe you’ve wanted to combine video from different cameras whose footage has different visual qualities. Well, you’re in luck. Adobe SpeedGrade CC comes with a variety of features to help you correct colors, match the color between shots, and add stylized looks. Even better, you now can import your video projects into SpeedGrade directly from Adobe Premiere Pro CC.
Before you jump headfirst into color-correcting your clips, it’s helpful to understand a little about color grading. You’ll also need to open the tutorial project in Premiere Pro and send it to SpeedGrade using the Direct Link feature. In addition, you’ll get a brief introduction to the SpeedGrade user interface.
Often the video you shoot will be warmer or cooler than you prefer. The RGB parade scope is one of several analysis scopes you can use to see a representation of how warm or cool the clips are in your project. You can then use the temperature slider to adjust the shot on the primary layer’s overall setting. Finally, you can make fine adjustments to the highlights, midtones, and shadows of the shot using the various slider and trackball controls.
Digital video and traditional film have subtle differences, such as the amount of detail that is preserved between changes in color or luminance (called “roll off”). SpeedGrade ships with several film stock effects that can help you achieve the look of film when applied to your digital video, so your project looks like it was shot on film. You can use a film stock by itself or apply one before or after a custom grade. If you apply a film stock after a grade, be sure to put it on a new Look Up Table or LUT (pronounced “lutt”) layer in the Layers panel. Otherwise, the film stock will delete and replace your existing grade layers.
A “look” is the composite of all the color and grade changes applied to the layers in the layers panel for a specific clip. SpeedGrade allows you to create and save looks, which you can then apply to other clips in your project. This is a huge timesaver if you have many clips in your project to which you need to apply the same look. The Shot Matcher tool allows you to take the look from one clip and apply it to another clip in your project.
The final step in grading your video project is to send the project from SpeedGrade back to Premiere Pro. This takes all the grades that you applied in SpeedGrade and adds them as Lumetri effects in Premiere Pro — where you can still turn them off and on in the Effect Controls panel. Save the Lumetri effects as a preset, so you can continue using them in the same or other projects.
Once you’ve reviewed your work, export the project from Premiere Pro or queue it in Adobe Media Encoder for exporting. Either way, you have a wide variety of export formats to choose from including many presets for common video hosting services, such as YouTube and Vimeo.
