Luckily, Jeremy Bircher over at the soon-to-launch story-driven stock footage hub, Story & Heart, has offered up the most comprehensive breakdown of Warp Stabilizer yet. However, despite the fact that it is fairly easy to get decent results with the plugin, it takes a little bit of know-how and practice to make Warp Stabilizer do its best work.
Among the myriad post production tools that have surfaced in the past few years, none is more of a potential life-saver than Adobe's Warp Stabilizer. And it adds caption support for MXF media and encoding to CEA-708 ATSC standards.Digital post-production has come a long way since the Avid machines of the early 90's.
It also has improved multicam support to rearrange camera angles as you edit, and improved Link and Locate support for working with proxy files. Premiere Pro for video production and editing assists your workflow by displaying key project information during playback on a new monitor overlay, including time codes and camera angles, plus supporting audio monitoring to automatically mix down multi-channel audio for stereo playback. You can sync on set using wireless timecode generators, and then combine your Live Logger metadata with footage in Prelude. Plus there's a new Prelude Live Logger iPad app, so you can log notes, events, and other data on the iPad while shooting. Plus it supports GoPro footage and metadata. It also adds still image import to rough cuts, and expanded XMP support. OpenGL acceleration is supported on all current Intel HD Graphics GPUs, and Adobe Media Encoder also now uses GPU rendering.Īdobe Prelude for video ingest and logging similarly enhances collaboration by exporting clips, subclips, and rough cuts, and printing the marker list for on-set review. After Effects now has multithreaded processing for the Warp Stabilizer VFX and 3D Camera Tracker, plus GPU optimizations especially for extruded text and shapes. Plus there are further performance optimizations, including OpenCL support in Premiere Pro, along with improved Warp Stabilizer performance and GPU debayering of Cinema DNG for real time playback. You now can edit these new camera formats in Premiere Pro, and then use the new DirectLink integrated pipeline to open projects natively in SpeedGrade for color correction and grading.Īnd to continue to use your legacy formats in the UltraHD world, After Effects adds a new upscale effect to retain edge detail and reduce artifacts when transforming from SD to HD to digital cinema sizes. The biggest technology upgrade is support for UltraHD, which not only moves resolutions to 4K and higher, but also supports 50 / 60 fps rates and extended gamut for larger dynamic range.
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