Posted by Craig McDaniel on Nov 25, 2013 | 2 comments

Software ReviewAdobe Creative Cloud
Publisher: Adobe
Website: Click Here
Platforms: PC & Mac
x32/x64: Both
Description: Digital Media Creation
Purchase/Subscription: Subscription Only
Pricing: Various Memberships ($49.99 – $74.99 per month. Click Here for Specifics)
Expected Release: Available Now
Demo: Click Here
Review Issue: Issue #93 (11/13)
Review By: Craig McDaniel
Final Score: 9.5

Here we go again; Adobe is unleashing its latest product line for creative types and some of the new features are going to blow your mind.

What’s the catch? You have to conform to Adobe’s new content delivery standards. Gone are the days when you could purchase a software license to use as you please, for years to come if need be. Now we have gone from “buying” a license to “renting” one. Creative Cloud offers an online account that features Adobe’s vast collection of products. Subscribing allows access for a lower price than buying software outright used to be. But the option of buying the software outright is now gone, replaced by a monthly subscription fee, this is a serious consideration for our readers.

The goal here is to give a rundown of what the latest from Adobe offers and how it can directly impact low budget filmmaking. The entire Adobe collection offers software for creators who work with photos, video, design and web content. This review will focus on the Cloud integration of Premiere Pro CC, After Effects CC and SpeedGrade CC – Along with connections to Photoshop CC, Audition CC, Prelude CC, and Story CC Plus. While this is a more general review of how the Creative Cloud works together, you can read my standalone review of Photoshop CC, as well as Mark Colegrove’s standalone reviews of Premiere Pro CC and After Effects CC.

Ease of Use

In my opinion, anyone with basic knowledge of modern computer software will be able to pick up most of these programs quickly with some legitimate effort. Using the program is one thing; getting the results you want is another. That’s going to take some time and skill on the user’s part.

Some may wonder what the installation process is like this go around. If you have ever purchased online software from Adobe in the past, then you’ll know what to expect. An Adobe ID is required, along with your subscription choice. The download and installation process is flawless.

Upon doing research for this review I have noticed a misconception that in order to use the Creative Cloud programs you must always be connected to the internet. This is not true. Once downloaded and installed, your software will operate normally (unless your subscription contract has run its course), although you will be unable to take advantage of the online features the Cloud offers. Another concern that has come up recently is the seemingly sporadic timing of subscription checking. For instance you would think a 30 day subscription would only be checked every 30 days, but it seems the check rate is random. If you happen to be offline for a few days and the software tries to check in, you might be out of luck.

Depth of Options

Because there are so many things that are part of the Adobe collection, I’m going to focus on the new options Adobe is touting for this release.

Premiere Pro CC
My personal favorite editing software on the market has undergone a makeover, not a complete overhaul but enough to say it’s not just the typical yearly enhancement. Built for speed, the updates are made for ease of use. With that in mind I’ll mention “Track Targeting”, this option allows for taking a source sequence and placing it into another timeline. Previously this could be done as “nesting”. This will combine your audio/visual elements into a new timeline, which can easily be placed in your current timeline or be selected as an all new timeline. In my experience Premiere Pro’s nesting could end up being complicated to keep track of with large projects. This is a much welcomed addition.

Premiere Pro also offers a new and improved way to “Link and Locate” offline files. There are times when a file is accidentally deleted, moved or renamed. This feature is helpful if several of your lost files happen to have been moved to a new folder. Offline files are always going to be a pain when/if it happens, but this feature softens the blow.

SpeedGrade CC
In addition to these new features in Premiere Pro, you’ll find the Lumetri Deep Color Engine – which itself is also the basis for the now fully implemented SpeedGrade CC. The CS6 version of SpeedGrade was a flawed and clunky way to introduce the recently acquired color correction software into the Adobe family, leading many to avoid using it. Now things have greatly improved and are much more streamlined. Whether you are using SpeedGrade CC to correct color before, during or after your edit, you will find the quality of Adobe integration we have come to expect with amazing results.

After Effects CC
The big boast this go around is the upgraded 3D capabilities utilizing CINEMA 4D (or the provided 4D lite for those who don’t have MAXON’s full 4D software). After Effects has always had a good relationship with CINEMA 4D, but now it can fully interact with CINEMA 4D models through the CINEMA 4D Lite inclusion. For those who want to create 3D elements for both animation and live action effects, this addition is a pretty big deal. (For those interested in finding out about CINEMA 4D, check out Mark Bremmer’s review of CINEMA 4D r15.)

Photoshop CC
There are several new features covered in the separate Photoshop CC review, but the exciting feature is that the Adobe Camera Raw filter can be applied to video. Obviously, photos and videos not taken in the Raw format will not benefit to the degree of actual Raw files. But the option of non destructive tinkering within the confines of Photoshop CC is pretty cool.

Audition CC, Prelude CC and Story CC Plus
Audition CC–Adobe’s robust audio editing software–adds a new “Sound Remover” tool that helps to remove unwanted frequencies and you’ll also find new keyboard shortcuts and new color coding choices.

Concerning Prelude CC—the metatagging and rough cutting software Adobe rolled out with CS6–an updated interface will help the user accomplish footage management much more quickly and efficiently. With the amount of different cameras, resolutions and file types out there, Prelude CC is quickly becoming a godsend.

Story CC Plus–Adobe’s scriptwriting and production pre-planning program–allows you to directly plan for your shoot and edit while (or after) you write. It has both offline and online features. If you are working with a fully implemented Creative Cloud production, Story CC Plus will allow for everyone from various departments to be on the same page and to give specific people the ability to proof and even edit the script.

Encore CS6 & The Media
Permanence Controversy There is one issue that needs to be noted. Since the original release of Premiere Pro, Adobe Encore has been the program that allowed you to take your project and design a dvd (or, later, a blu-ray disc) around that content. Unfortunately, with the Creative Cloud, Adobe has pretty much abandoned this program. While it’s true that Encore CS6 is still included with the Creative Cloud subscription, the critically important and often used dynamic link has been disabled. (Encore CS6 is the final version of that software.) The deliverable format of your content created in all these programs is very important. To remove this from the table is a crippling blow to many Indie filmmakers, TV advertising production houses and even wedding videographers, who depend on being able to release things in a permanent format. (Even Adobe’s new enterprise targeted clientele want to have hard copy backups of things.)

As a user I’m not denying that streaming is the future, but streaming is nowhere near the quality of a properly authored blu-ray and people will always need to be able to make a showcase quality, permanent backup of their work. To take that option away from creators prematurely in order to try and force the market is very shortsighted in my book—especially since many parts of this country—not to mention other countries—don’t have access to the high speed data that apparently is being taken for granted here. Are we considering the upload time? The download time? What about those who choose to use sites like YouTube or Vimeo (which will downgrade your high quality file for faster streaming)? What about bandwidth caps being set by providers?

Both Apple and Adobe have taken a stance against physical media and it should be a major concern for filmmakers. Both hardware and software are moving towards 4K, while at the same time pushing for an inferior way to showcase the final product. This makes little sense to me. Like all formats death will come to the dvd/blu-ray era, but we are not there yet.

Performance

The Creative Cloud software continues the legacy of Adobe’s past software packages by performing beautifully. For years I have loved the Adobe line and this new version is no different with the exception of the forced subscription method and lack of continuing physical media support. But overall these concerns don’t affect the actual performance and design of these programs.

Value

There is financial value to be found in Adobe’s Creative Cloud, as there are several pricing plans for various needs. If you’re someone who always upgrades with each new software offering or if you’re someone working at an enterprise company that leases all their computers, you’ll probably love this new direction. However, there is only one “bundle” option. You can either pay for each program or all programs, currently there isn’t an option to purchase a bundle aimed directly at filmmakers. The baseline is a monthly fee of $19.99 per program or $49.99 for the entire cloud (with a 12 month commitment; month by month rental is $74.99). There are additional options depending on your previous Adobe purchases or extended subscription commitment, which offer various online services as well as storage space.

Final Comments

I would have preferred Adobe stuck with the previous model making Creative Cloud an alternative option rather than a set standard. With that said, I’m not going to bash a quality product just because of a changing payment style. The choice is yours, and you still have several years before the previous Adobe CS6 software becomes obsolete. Many filmmakers are choosing to sit back and enjoy CS6, while keeping a keen eye on the near future, because there is a rather large chunk of users who don’t like this direction. In the past Adobe has been good at listening to their user base, let’s hope they continue to hear our cries.

Breakdown
Ease of Use	10
Depth of Options	9
Performance	10
Value vs. Cost	10
Overall Score	9.5