It made the adaptation easier, so I never felt the need to look elsewhere. Despite some differences, the terms and conventions used where similar to those I knew from apps as ProShow Producer, my longtime software of choice for creating slideshows. I believe that was one of the reasons why I first picked PowerDirector, many years ago.
A NLE photographers can understandīeing more a photographer than a videographer, the interface PowerDirector offers makes more sense to me, as it is not much different from what you get in software to create slideshows digitally. Now, I’ve moved from version 17 to the 18, which gives me the continuity I praise: besides allowing me to use older projects, it keeps with the very same interface I am familiar with, and which has been one reason to keep with it. I promised myself that, in 2018, I would learn to use Resolve, but by the end of that year I was using the newly released PowerDirector 17 as my NLE, jumping to it from, you’ve guessed, PowerDirector 16. Me, I will gladly use them if I need, but mostly stick to what I know and have used for a long time now.Īs I’ve written before, I’ve tried to use other NLEs in a regular base, tempted by the power of DaVinci Resolve, the VFX of HitFilm Express, the options given by Lightworks or the classic reference of Premiere Pro ( I live in a universe of PCs and Windows OS), but I get back to CyberLink’s PowerDirector, when I need to edit video. One more thing I can add is that it feels exactly as the previous version, so I am comfortable with this new version, which, nonetheless, introduces a series of things that others may need/want. This review can be explained in a single phrase: I am back in territory I know and, from where I see it, there isn’t much that I need from a NLE, that PowerDirector 18 doesn’t have.
Able to import and edit video shot on professional-grade cameras, PowerDirector 18 has a new set of tools that includes audio scrubbing, nested projects, adjustable interface, 4K preview and more.
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