This is the fourth of a series of reviews that will cover what is contained in the Adobe Creative Suite 5 (CS5) Master Collection. When Adobe released CS5 this year, they not only will release single version products, but also five separate suites of products. They are Design Premium, Design Standard, Web Premium, Production Premium, and Master Collection. You can go online to compare what is contained in each version. The goal of this series it to define what each product does and provide information of what the new version brings to the table.
Adobe Premiere Pro is a real-time, timeline based video editing software application. It has gained acceptance within the film and video industry and has been used in part in such films as Dust to Glory by Dana Brown and Superman Returns for the video capture process and so, as the name implies, it is a professional level editing package.
Adobe Premiere Pro CS5 attempts to reduce the complex process that is video production. It does this by including copies of the products Adobe OnLocation CS5 and Adobe Encore CS5 to try to make each step of the video production more efficient and giving you more time to work your story. Please visit Adobe for complete system requirements.
One thing to note with Premiere Pro CS5 is that beginning with this version, this is a 64-bit only application. This means that to run this application, you will need a 64-bit operating system for Windows or the Mac.
So what is new with Premiere Pro CS5?
• Mercury Playback Engine – now provides true native 64-bit, GPU-accelerated support for both the Mac and Windows. This will yield dramatic improvements in the performance and stability of your process. This also gives you the ability to open projects faster, scrub through HD and higher resolution projects more fluidly, and handle long-form content and effects-heavy sequences much more reliably. The Mercury Playback Engine works hand in hand with NVIDIA CUDA technology that leverages the parallel compute engine in NVIDIA graphics processing units (GPUs) to solve many complex computational problems in a fraction of the time that it would take a CPU to perform the same task.
• Expanded native tapeless workflows – have become more effective through the offering of new native format support for Sony XDCAM HD 50, Panasonic AVCCAM, DPX, and AVC-Intra. Also included is native support for RED R3D files which have been enhanced as well. There is also native support for video shot with Canon, Nikon, and other DSLR cameras. This gives you two key advantages. First, you are able to save time, because with native support you’re able to start working with footage immediately—sometimes directly from the camera—and thus eliminate the time-consuming transcoding and rewrapping process typically required when you use the same media in other NLEs. Second, you can maintain the pristine image quality of your source footage throughout the production process. Native support also means that the metadata coming from the camera is retained.
• Open workflows with Final Cut Pro – and Avid software are made much easier whether working solo or with a workgroup that is involved in a large multistudio production. As with many industry professionals, there are a variety of production and post-production tools used on virtually every project. Moving media and sequences between tools in complex production pipelines often requires format conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to recreate elements that don’t transfer. The ability to share projects and assets between Adobe Premiere Pro and Final Cut Pro, as well as between Adobe Premiere Pro and Avid NLEs such as Media Composer, means you can share files and timelines without conversion or rendering, preserving commonly used effects and transition.