Adobe tries to slaughter this data hog in the common way. But Adobe has a ways to go before this becomes a seriously graceful feature.įor anything beyond standard-def video, Premiere Elements starts to huff and puff. It’s OK for simple paths and cartoon-y esthetics. This lets you mark a bounding box around an object moving within a frame, and then assign an element (perhaps a font line, a graphic or a picture-in-picture video frame) to that object.
Premiere Elements attempts rudimentary position-path following (motion tracking). You can end up trading shaky-cam for what one old editor friend describes as bad-acid-cam. But it’s not wonderful-not as good as the parallel feature in Apple’s free iMovie.
Fashionable!įor handheld shots, or those taken from aboard a bumpy ride, Elements offers a Stabilize treatment. And you can step-in, design your own title looks, and animate them in interesting design-y ways. You get useful templates for common font work across a series of themes. Caution: it’s way easy to overdo this.īig props to Premiere Elements for its prowess with titles! I’m not enough of a code-kid to tell if some of Adobe Illustrator’s genes have been spliced in, but it wouldn’t surprise me. But Adobe gives you various levers to pull on the FilmLooks treatment. FlimLooks overrides any previous light bending you’ve applied to your clip. You can have, say, an old home movie, or newsreel, or cartoon look. These are canned thematic packages, each using color, noise, gain, grain, motion simulation, distress, contrast and other treatments to give you an overall feel. To make your movie positively jolly with emotional vibe, you can try FilmLooks. Move your cursor towards the corner or side showing the look you want, and Elements grades the whole clip towards your choice. Auto Smart Tone applies a range of algorithmically-concocted fixes, displaying them in four panes placed around your original. Fortunately, there’s a shortcut called Auto Smart Tone. It’s easy to fool yourself and lose reference. In fact, any color correction takes time, attention and perspective. But who-other than astrophotography buffs making eclipse movies-has time for that? If you need more subtle tweakage, you could port a clip's worth of frames out to Photoshop Elements, fix one, apply the tweak-settings to a stack of them, and return them to Premiere.
As with pro-level editors, Elements has a tri-level color-grader so you can separately address areas in shadow, in highlight and in-between. Adobe’s Photoshop pedigree may be at work here. Operationally, Elements steps you from an elegantly simple Quick mode (I just want to make my movie now), through a Guided zone (earn while I learn), up to the Expert level.Ĭolor correction in Premiere Elements has some serious game.
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