Adobe Premiere 6.5: Still Sparkling
Summary: Mature, fully featured NLE system geared toward streamlining video capture, editing and output applicationsTarget Users: Corporate video directors and producers; Web designers
Platforms: Windows 98/98SE/
2000/ME/NT 4 with Service Pack 4/XP; Mac OS 9.0.4 or higher; Mac OS X or higher
After the major changes in functionality and robustness introduced just last year in Adobe Premiere 6.0, this more recent update was bound to be a bit disappointing. Nonetheless, while retaining all the good and great points of its predecessor, this next-in-line version has a few fine additions that, for some, will make the upgrade worthwhile.First, a quick tour of the familiar. Installation and operation was problem-free on my Cro-Magnon PC. The reliability of recent Adobe releases shouldn’t be overlooked. Part of me thinks I shouldn’t be too impressed by the fact that a program loads and runs without crashing, but part of me still remembers the past.
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The interface and the vast body of the program remain unchanged, with optional dual or single Source and Program monitor windows, a Project bin for all your clips, and an adjustable timeline that’s familiar to any who’ve worked with an NLE. The three big windows look pretty neat, and are simple to work with until you start bringing up the other windows the program has, such as the effects and transitions windows and the terrific audio mixer. Things can quickly get crowded, so the larger the monitor, the better. On the plus side, much of the interface is customizable.
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| The interface and vast body of the program remain unchanged. Click on image for larger view. |
Capturing was a breeze, in part due to the new DV Device Control Options dialog box. It has a comprehensive collection of presets for most any DV device, with more available through Adobe’s Web site.
Titillating Titling
The most apparent and most touted new feature is 6.5’s Title Designer. While it doesn’t match up to dedicated titlers in terms of motion or 3D capabilities, it has some handy qualities.
On the PC, you call up the Title Designer using the File/New Title menu commands. The clip I selected on the timeline automatically came up as the background for the Title Designer, which appears as a large, separate window and pretty much acts as its own program.
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| This version includes an improved audio mixer and 24 audio effects. Click on image for larger view. |
As one might expect, any text and objects created in the Title Design window can be moved, sized, proportioned, textured, beveled or colored. Rolls and Crawls, the two most common text movements for credits, can quickly be created using commands of the same name. Unfortunately, these are the only motions for text that can be created via the Title Designer. Other movements, however, can be created by manipulating the resulting title clip as you would a video clip, with Premiere’s other functions and effects.
That limitation aside, the Title Designer worked nicely. I was a bit surprised, however, when, upon completing and saving my test title, Premiere didn’t automatically put it in the timeline and matte it to the clip I’d used to design it. Instead, it deposited the new title in the project window, where clips are collected prior to use. To use it, I had to drag it into the timeline and matte it to the clip manually—a process that felt a little redundant, since I’d just seen the final result in the Title Design window. More intuitive automation here would certainly streamline the workflow.
Source: AVVMMP
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