Transcoding media — especially big files like those that use RAW codecs — can take a lot of time and resources. When a videographer shoots in one format, but the editor has to convert the footage to another, the workflow screeches to a halt. Apple’s new software will hopefully provide a fast track for teams that use both Macs and PCs. That said, pros — who work on short deadlines and are thus rather cautious about changing their workflows — may shy away from using it until it’s proven to be reliable.

Cinema cameras typically provide several RAW codec options, including first-party options. For example, Canon cameras like the C-300 Mark II work with both Apple ProRes RAW and Canon’s own RAW formats. Many external recorders — which grab a signal via the host camera’s HDMI output — are also capable of capturing ProRes RAW footage. These files are then sent to a color corrector or editor for refinements and assembly.

ProRes RAW was off to a rough start when it launched a few years ago. It wasn’t supported by many cameras, capture devices or editing suites. However, that seems to be changing slowly. Canon, Blackmagic, Arri, Red and many other manufacturers now provide the ability to shoot in Apple’s format. By bringing Creative Cloud editors who use PCs into the fold, adoption could increase — though more and more pro editors are moving from Premiere Pro to Blackmagic’s DaVinci Resolve.

The full-featured versions of Photoshop and Premiere can be overwhelming, and the methods to reach a desired outcome are rarely obvious. In other words, you really have to know what you’re doing. The Elements versions of the software offer straightforward workflows that avoid obscure menus and hotkeys, as well as a one-time purchase rather than Adobe Creative Cloud’s monthly subscription fee.

Photoshop Elements 2020 offers a new one-click subject selection, which automatically outlines a person or object. You can isolate the selection to duplicate it, give it a new background or transfer it to a different photo. When doing this manually, it can be a painstaking task, especially if you’re trying to isolate frizzy hair or objects with transparent edges.

If a subject in your photo has skin blemishes, a new Sensei feature will smooth out his or her complexion. A slider bar lets you control how drastic the effect looks so you can avoid that plastic-y sheen you sometimes see in poorly Photoshopped images. This saves time over using tools like the spot-healing brush, which can be hit-or-miss.

Photoshop Elements 2020 can automatically colorize photos either by fully applying hues to black and white snapshots or by adjusting color images with more pleasing tones. Again, painting colors in manually and playing around with transfer modes can take hours. Sensei reduces the workflow to minutes.

The update also adds two new guided edits, which are essentially tutorials for different using effects. New Auto Creations, which can be accessed from the home screen include Black & White Selection, Pattern Brush, Painterly and Depth of Field presets. US users can order prints, phone cases and other accessories featuring their completed work from the Fujifilm Prints & Gifts service, straight from Photoshop Elements.

As for Premiere Elements 2020, a new tool can fix one of the biggest problems with smartphone footage shot in low light; a simple drag-and-drop effect smooths out grainy and “noisy” picture quality. Adobe’s AI will also identify what’s happening in your video and tag it accordingly. For example, if you ingest footage of your dog running across the horizon as the sun sets, Premiere Elements will automatically add “dog” and “sunset” tags to the video’s metadata. This makes it much easier to find the footage you’re looking for, rather than searching through randomly named files. Premiere Elements 2020 also has five new Guided Edits to help speed things up even more.

Adobe Photoshop Elements 2020 and Premiere Elements 2020 are now available for $99.99 each, or $149.99 when purchased together.

If you were around during the VHS era, you may already be familiar with the process of changing aspect ratios. “Pan and scan” editing was used to convert 16:9 theatrical movie prints into 4:3 home videos. Editors had to move the footage frame by frame to make sure all relevant visuals stayed on-screen. Today, editors have to do the same when creating multiple versions of the same video. For example, an editor’s main task may be to create a 16:9 video to be published on YouTube, but he may have to create a square version of the video for Instagram as well.

“With Auto Reframe, users can simply drag the effect onto the individual clip or clips they wish to reframe and it does the work for them, saving countless hours,” says Adobe. The effect is powered by Adobe Sensei, the company’s AI and machine learning engine that automates tasks throughout the Creative Cloud software suite. Sensei analyzes each frame of the footage and creates keyframes (basically time-based coordinates) that follow the action and adjust the framing accordingly. This will cut the time it takes to create a new version of a video from hours to minutes. And for editors, who are often freelancers or contractors, time is money.

Auto Reframe will launch on Premiere Pro later this year. Motion graphics templates will also be coming to After Effects, making animated graphics, text and lower third visuals a faster, easier process.