![]() ![]() Each purchase and serial number allows you to use the product on more than one host application, but only on a single computer at a time. Instant 4K runs in a variety of host applications. Offload is compatible with virtually all cameras and formats. ![]() ![]() In addition, PluralEyes imports and exports timeline sequences for the following video editors: PluralEyes imports video and audio clips, syncs them, and then exports media files that can be used anywhere. PluralEyes 4 is so mind-blowingly good at automatic sync, you’ll wonder how you ever survived without it.PluralEyes is a standalone application, not a plug-in, so its results work with every video editor. Bottom lineĪlthough the included plug-ins still cut Final Cut Pro users out of the picture, I consider Red Giant Shooter Suite 13 to be an essential post-production tool. That’s an exceptional deal for Adobe users, but FCPX fans who don’t need Offload will save a few bucks by purchasing the standalone version of PluralEyes instead. Odd couple aside, if you own a previous version, the $99 upgrade is a no-brainer.īut here’s the thing: For new buyers of Shooter Suite, you’re effectively paying for PluralEyes and Offload, then getting $197 worth of plug-ins for free. ![]() To be honest, Instant 4K and Frames have always felt somewhat out of sync (pun intended) paired with PluralEyes and Offload, which are intended for prep instead of finishing. The final component isįrames, used to convert older NTSC or PAL content to true 24p (23.98) without interlacing, make sure colors are broadcast-safe, or add letterboxing for a cinematic look. Instant 4K does a bang-up job of upconverting standard-definition footage to HD or 4K using presets that provide higher quality results than After Effects alone. Only Adobe Premiere or After Effects CS3 and higher are supported. That’s something of a disappointment, because neither Final Cut Pro nor Motion can be used as host applications. The rest of the Shooter Suite 13 lineup is comprised of a pair of $99 post-processing plug-ins that remain largely untouched from previous versions. The dark, minimalist UI looks great, adding unity and tight integration with Offload, along with a ton of ways to spot-check audio waveforms against your footage without altering the original media. Media can also be dragged and dropped directly from the Finder, but this version does remove support for Avid Media Composer, which was frequently buggy. Unfortunately, there’s no such integration available for my favorite editing software, Final Cut Pro X, but thankfully you can still import an XML file into PE4, sync, and send it back to a new FCPX project. XML data can be imported to or from Adobe Premiere CC and Final Cut Pro X, or you can drag-and-drop raw footage directly into PluralEyes 4 to sync prior to editing. I actually had to do it several times in order to wrap my head around just how seamless, accurate, and fast it was to use the software this way. Before you even have time to grab a cup of your favorite beverage, it’s all done. That’s because PluralEyes now acts as an HTML5 extension, which literally makes the process as simple as dragging clips into a timeline and clicking Synchronize. Red Giant has practically made the UI nonexistent here, and better yet, the entire process can now be performed directly from a panel inside Adobe Premiere CC without ever opening the standalone application. PluralEyes 4 addresses two minor limitations I’ve noted in the past: Earlier versions often required a bit of fiddling for best results, and could only be performed within the application itself. ![]()
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