LIGHTWORKS PRO 2015 FULL
To put it in context, that’s about the same price as subscribing monthly to use Premiere Pro, although the price falls to £17.50 per month if you pay annually.Ī full Creative Cloud subscription represents better value if you intend to use After Effects, Photoshop and SpeedGrade together.
LIGHTWORKS PRO 2015 SOFTWARE
Many users still balk at “renting” software – for those users, the only option is to look elsewhere.Įven if you do get on with the subscription model, you have choices there, too, with an annual subscription to Lightworks costing £100, and Media Composer costing £26 per month.
LIGHTWORKS PRO 2015 FREE
Media Composer (£1,126), Final Cut Pro X (£300) and Lightworks Pro (£249) are all available as perpetually licensed standalone products, and there’s a free version of the latter, too. Many users still balk at “renting” software in this way for those users, the only option is to look elsewhere.
The only way of getting hold of the software is through an Adobe Creative Cloud subscription. What hasn’t changed with Premiere Pro CC 2015, however – and is unlikely to change in the near future – is the purchase method. As ever with automated processes, though, give the result a quick play-through first. This should come in handy for meeting stringent video-delivery requirements, as well as cutting showreels. Enter values for the duration change or target duration before encoding and Time Tuner will analyse the footage for scene changes, quiet audio passages and sections with still images or low visual activity then automatically add or remove frames in order to meet the target time. Accessed via Adobe Media Encoder, it’s an effect that can shorten or lengthen a project by as much as 10% – and with minimal intervention. However, in general, this facility will cut down the time taken for this sort of task.ĭuration is at the heart of another useful analysis-based tool, Time Tuner. Static backgrounds are essential, too: in one of my tests, a screensaver behind an interviewee caused a smearing effect. It only really works with a single talking head any more seem to confuse the face-tracker and produce a blending effect from one face to the other in the transition. I had to adjust the duration of the morph and drag the transition slightly in Effect Controls to realign it off the edit point before it created a clip smooth enough for my liking. In practice, it needs fine-tuning to achieve the desired effect. The effect in question is Morph Cut, a video transition that quickly analyses the footage surrounding cuts in the timeline, then uses a combination of face-tracking and optical flow interpolation to create a “seamless” transition between clips. There’s a new way to work with jump cuts in this version that should help smooth out the “umms”, “ahhs” and pregnant pauses in talking-head interviews.
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