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Adobe needs to improve the performance of this otherwise excel-lent new feature. Subsequently, it opened much faster, but it still updated slowly when we dragged objects or made other changes. The first time we opened the window after launching Premiere, it took more than ten seconds to completely appear. You can use the templates as they are, modify them, or create new ones from scratch. There are categories for specific types of videos, such as weddings and sports, and for specific types of graphics, such as lower thirds, which appear near the bottom of the frame. Title Designer includes dozens of title templates organized into several categories. You can’t, however, animate individual text elements–for example, you can’t have a piece of text fly in from the left side of the screen. What’s more, Title Designer updates its preview display in real time.Īs for animation, you can create rolling titles and crawls (titles whose text marches from left to right, usually along the bottom of the screen). We were especially impressed by the array of object-modification options Title Designer provides–you can stretch, squeeze, distort, slant, and kern text you can fill any object (including text) with a solid color, a texture, or any of several types of gradients you can add sheen to an object to create a chromelike appearance and you can rotate objects and change their opacity. When Premiere 6.5’s Real-Time Preview option is active, you can simply press the return key to preview an effect. One of our favorite new features in Premiere 6.5 is the program’s ability to preview effects, transitions, and filters without having to render them to the hard drive first, which is time-consuming. Adobe’s tech support reports that this has not been a significant concern.) Also, Premiere 6.5 doesn’t provide a feature for automatically dividing DV footage into separate clips based on scene changes, something even the low-end iMovie can do. (Adobe has found that most Premiere users specify folders for captured movies instead of relying on the default setting. When we reset the capture location to a folder of our own choosing, Premiere 6.5 behaved properly.
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Although the program’s default setting is to store captures in the same folder as the Premiere application, our captures were stored at the top level of our Mac’s internal hard drive. Moreover, we found a bug: Premiere 6.5 didn’t stash captured movies where it was supposed to.
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(Adobe says that this problem will be fixed in a free update, which should be available on the company’s Web site by the time you read this.) The video that Premiere 6.5’s Capture window displayed was extremely jerky, making it difficult to log in-points and out-points with precision. Unfortunately, the sailing was less than smooth.
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We used a Canon Elura DV camcorder and a dual-1GHz Power Mac G4 running Mac OS X 10.1.5 to test Premiere 6.5’s capture features. Premiere 6.5 can capture video directly from a FireWire-equipped DV camcorder or through any of several analog capture cards, such as Matrox’s RTMac or Aurora’s Igniter RT. While Premiere supports projects as long as three hours, navigating such a lengthy timeline is cumbersome therefore, Premiere remains best suited to projects no longer than about an hour. Most important, this means that you can’t divide a lengthy project into separate segments and then assemble them when you’re done, as you can in Final Cut Pro. Many video pros prefer a muted look because it’s less visually fatiguing during long editing sessions.Īs with all previous Premiere versions, a project can contain only one timeline sequence.
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However, we’d like to be able to give Premiere’s windows a muted gray appearance similar to the default display of other professional video-editing programs. Premiere’s interface is straightforward for beginners but provides keyboard shortcuts that veteran editors (and their wrists) will appreciate.