This creates a new, cleaned-up copy of an existing sequence. The clean version can remove inactive tracks and clips, drop everything to the lowest available track and be further fine-tuned by locked layers. Adobe has also implemented a more powerful AI-assisted Auto Tone function that sets all of the basic controls based on an analysis of the content.Īnother new feature coming out of beta is the Simplify Sequence functionality. I would prefer to be able to scale it vertically as well, but that is not yet supported.
The Lumetri Curves effect UI now scales horizontally with the panel for more precision.
The histogram is much more detailed and accurate, offering a more precise view of the underlying content. The vectorscope is now colorized, and you can zoom in to any section by double-clicking. The Lumetri scopes have also gotten some attention as they become more significant for HDR processing. Hopefully these functions will be included in the new approach to exporting before it comes out of beta. Currently the older import and export UI controls are still available in Version 22.0, and are still available in the Beta versions, if you send your sequence to Media Encoder. Obviously I am not a fan of these changes, and see no upside to the new approach. These results can be achieved by adding export sequences that include the content are trying to output, but this is not as simple to do on a large scale, and can’t be included in presets. The main thing I am missing is the source settings in the export window, which previously allowed you to crop and scale the output in different ways. I believe it might be more consistent with Premiere Rush’s UI, and may be similar to Resolve’s export options. One other feature Adobe has announced for Premiere Pro 2022, that hasn’t been released to the public version, is fully redesigned import and export windows, which consume the entire UI, for no apparent reason, and do not include all of the functionality of the previous approaches. This should allow processing of HDR content on much smaller and lighter systems than are currently required with the existing ProRes-based HDR workflows. Adobe also added color management for XAVC files in SLog color space and better support for Log files from Canon and Panasonic as well. HEVC and H.264 files are now color-managed formats, which means that Premiere now correctly supports HDR files in those codecs. This had been a huge hole in the existing HDR workflow because Premiere could export HEVC and H.264 files of HDR content but couldn’t import or view them. The issue is now resolved, opening a host of new HDR workflow options.Īdobe also added support for hardware-accelerated decoding of 10-bit 4:2:2 HEVC files on new Intel CPUs, which is a new format for recording HDR on high-end DSLRs that is not currently accelerated on Nvidia or AMD GPUs. The application I am most interested in is Premiere Pro (although at the end of this review, I touch on After Effects and Photoshop). Last year’s Version 15 release added a new approach to captions, which Adobe has continued to flesh out with more automatic speech-to-text tools and better support for new titling options. Other improvements to Version 15 introduced through the year included more control over project item labels and colors in collaborative environments, HDR output on UI displays via DirectX and automatic switching of audio devices to match the OS preferences.Īdobe Premiere Version 22 Updates: HDR and More Unlike Adobe’s move to redesign its applications icons to all look the same (so you can’t easily tell the difference between an AEP file and a Premiere project), this broad consistency change seems like a good idea to make it easier to track versions across time. The Adobe MAX creativity conference is taking place virtually for the second year in a row, and with this event comes the release of new versions of many of Adobe’s products. One interesting note relating to this is that Adobe’s versioning of each video application is now Version 22, regardless of the tool’s previous version. This will make the version numbers consistent across the different applications and match the year that the release is associated with. Last year, Premiere Pro 2021 was released, but it was Version 15.0, while After Effects was Version 18.0.