#Hitfilm pro 2017 full
#Hitfilm pro 2017 license
#Hitfilm pro 2017 professional

Not all plugins will work since there are so many, but in a video released after NAB 2019, HitFilm said plugins like Andrew Kramer’s Video CoPilot Element3D and ones from Red Giant are on the horizon. One of the most interesting and recent updates to HitFilm Pro 12 is the ability to use After Effects plugins. This is something I use constantly and love.

#Hitfilm pro 2017 professional

Not only does it have the professional functionality that I am used to, such as trimming, color scopes and more, but it also has BorisFX’s Mocha planar tracking plugin built in for no extra cost. I often come home and want to work in something that has everything inside, and that is where HitFilm Pro 12 lives. That doesn’t mean you won’t want to buy third-party plugins, but you are less likely to need them with HitFilm’s expansive list of native features and tools.Īt my day job, I use Premiere, After Effects, Media Composer and Resolve. without having to necessarily fork over money for a bunch of expensive third-party plugins. In my eyes, HitFilm Pro is a great tool set for independent filmmakers, social media content generators and any editor who goes beyond editing and dives into topics like 3D modeling, tracking, keying, etc.

#Hitfilm pro 2017 license

Not only does that price include 12 months of updates and tech support, but one license can be used on up to three computers simultaneously. Again, it looks identical in 8 or 16/32 bit modes in the Viewer when you do that.Technically, HitFilm Pro 12 is a non-subscription-based nonlinear editor, compositor and VFX suite that costs $299. It's also looks a little weird that values can go right off the range of the scopes in 16/32 bit mode if you whack up the Contrast enough, but they 'clump' around (not at) 100% and 0%. If I use the White Balance Pipette (Effect Off, but Pipette still active) I can't find higher than 1.0 in the blown out sky, or lower than 0.0 in the shadows, so.what am I seeing?Īre the scopes in 16/32 bit modes showing that while there are potential SuperWhites (and SuperShadows?) I'll never be able to see them because when rendered they'll be clipped anyway? in 16/32 bit mode it also clips at 100, but when I increase Brightness or Contrast it will go up to 120 (and beyond) and down to -20 (and beyond).īut when I flip between 8 and 16/32 bit mode, the image looks identical. Thanks to GIMP, PD Howler, Vegas and Hitfilm I have no pressing need for your ransomware-expect me to share the story of how you guys screwed me well what confuses me is loading in some 8 bit GoPro footage and the sky is bleached out White 100% and the shadows go down to 0%. Here's another copy of Adobe Support assuring me I was buying Genuine Adobe Software.Īdobe: Tough. Me: Shove your ransomware, and validate my Genuine Adobe Product that Adobe assured me was Genuine Adobe Product before I purchased it. Me: Yes, I am, and here's the emails from you proving it. Me: Here's the support chat transcripts and email chain where you at Adobe assured me this was a licensed reseller and I am buying genuine Adobe product.Īdobe: recent testing has indicated that you are not running Genuine Adobe Software. It goes something like this.Īdobe: recent testing has indicated you are not running Genuine Adobe Software. Oddly enough I'm in an argument with Adobe right now. I believe CS6 defaults to 16-bit, and 32 is usually overkill. Phillip see what happens at 16 bit just for comparison. Looks like I'll have to stick the Premiere CS6 for a little longer. I however have literally thousands of hours of footage shot on my AVCHD Panasonic SD900, which I can't properly grade on Hitfilm. It's not something that will effect most DSLR users as most DSLRs don't record Superwhites and have the much better system of allowing flattened colour profiles. I bought Hitfilm as a replacement for my Premiere CS6 and wouldn't have spent the money on it, if I'd have known about this problem. Shame, as I feel it has a lot of promise and could knock Adobe off it's pedestal in time. I can see the recovered highlights and highlight detail on the Premiere graded footage and have not been able to achieve this on Hitfilm. It's not just the Waveforms that have proved this to me. You can clearly see it's clipped lower down on Hitfilm and that the extra (Superwhite) highlights are there in Premiere. Look closely at the shapes of the top of the waveforms. My point isn't really about how it's measured. 0 and 100 on Hitfilm and 0.3 and 1.0 on Premiere PAL video.

#Hitfilm pro 2017 full

As long as you know where your Solid Black and Full white lines are. Personally, I think the measurement system used on Waveforms isn't that important.