![]() Later this year Adobe will release a set of online services called CS Live some of these services will integrate with Premiere Pro and/or other elements of the Production Suite. But as with many Adobe applications, Premiere’s interface text is very tiny, and you can’t adjust the text size. You can now set monitor playback resolution and pause resolution independently by using a simple drop-down menu that’s useful if you’re editing on an underpowered system such as a laptop. The latter function makes it much easier to generate a thumbnail image for your Website. Similarly, Premiere will now import unprotected asset files from a DVD, also with no fuss.Ī new tool finds gaps in videos on your timeline, and another lets you output a still frame from your video with the click of a button. ![]() For example, I imported HD video from a Nikon D5000, and Premiere required no conversion at all–I just dropped the clips into the source bin, and, from there, immediately into the timeline. Native support for massive R3D files generated by RED Digital Cinema cameras is new, as well as support for XDCAM HD 50, AVC-Intra footage, and HD video from some Canon and Nikon digital SLRs. For example, you’ll see notes like, “additive dissolve not translated cross dissolve used instead.” If you use only common effects and transitions, you may be able to do so without converting or even rendering–though you will still have to worry about how to share the gargantuan source files.When you import or export a Final Cut Pro project, Premiere will generate a translation report that details how effects, transitions, and other elements got carried over from one platform to the other. ![]() Mixing Macs and PCs in the same shop? Premiere Pro can now share projects and assets with Apple’s Final Cut Pro, and with Avid editing applications. ![]() Only the GTX 285 and one of the Quadros will work in a Mac. Four of the cards are Quadro workstation cards, ranging in cost from roughly $800 to more than $2000 the sole desktop card so far is the GTX 285, which sells for about $400. That benefit goes only so far, though: Adobe has qualified just five graphics cards for use with Premiere Pro–all of which use nVidia’s CUDA technology. The company says that Premiere Pro can “solve many computational problems in a fraction of the time a CPU would take to perform the same task” and thus can render HD video much more quickly–freeing your CPU to handle “background tasks.” If I were Intel, I’d feel insulted by that. One of the benefits of Premiere Pro CS5 is that Adobe is continuing the trend of using GPU power that it began with After Effects a couple of versions ago. Only when I started adding several tracks of HD clips and effects did Premiere start gobbling RAM the highest amount I saw was about 3.5GB. However, with only a simple, single-track project open, Premiere used merely 214MB of RAM–it did not take up the entire 6.5GB, and my system ran perfectly well with several other applications open. On my 8GB system, the default setup reserved 6.5GB for Premiere and 1.5GB for everything else. However, I had none of the RAM-related problems I’ve occasionally encountered with Premiere Pro CS4–none of the slow reading and writing of data to the hard drive instead of to RAM, fewer playback and timeline scrubbing hesitations, and generally smoother operation overall.Īs with the 64-bit Photoshop, Premiere Pro requires that you allocate RAM manually–up to a maximum of 128GB. Relying on CPU power, Premiere Pro CS5 didn’t render any more quickly than Premiere Pro CS4 did. When I installed a beta version of Creative Suite 5 on my test system, a dual-Xeon workstation running Windows 7 64-bit with 8GB of RAM, I did not notice a substantial improvement in rendering speed–but then, my workstation doesn’t have one of the approved graphics cards.
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