Adobe Creative Suite (CS5) for video editing

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Adobe Creative Suite 5

Introduction :
Adobe is now with the new features of Creative Suite 5 (CS5) to the public. Following are certainly a number of IT trade media to report on all the new features we want something more detailed look at the new features that should be of particular interest to video editors. We had already released a beta version for testing, whose early findings, we also want part in this (quite thick) can feed News. The biggest feature (and for many PC users certainly the biggest hurdle transition) is the exclusive support for 64 bit operating systems in Premiere, After Effects and Encore. On 32 -bit Operating systems to run these programs simply do not. We therefore have the beta and Windows 7 in the 64 -bit Core2 Quad Q6700 version on a (4 x 2.66 GHz) with 8GB RAM and 80 GB SSD Intel X25 installed.


Premiere CS5 :
There were no templates for HDV or AVCHD to offer, but there was preset for AVC-Intra, DVCPRO, and DVCPRO50. Profiles for Sony's XDCAM contrast again. If published, CS5 premiere contrast to even support XDCAM HD 50 and DPX sequences. There was already in our beta even templates for "Digital SLR", which are apparently coined, according to the accompanying primarily on the Canon EOS models. A corresponding import files failed, however, first at a very mundane problem. Without Quicktime might the container does not import the EOS-MOV. However, there is no native 64 -bit Version of Quicktime for the PC. An experiment with the 32-bit enabled version, although the required imports, however, the performance is very moderate. It did not even play a stream smoothly, not with activated CUDA acceleration, even with the software engine alone. Apropos CUDA / Mercury Engine: Because there is still a beta version, we want to make any statements about the speed CS5. Some abnormalities were seen, however, being that we want not to deprive our readers:

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With an Nvidia Quadro FX4800, which we for Mercury engine in our test system had blocked the extra ran only accelerated codecs from Panasonic. After codecs for AVCHD and HDV not yet been delivered, can do so only speculate. It was striking, however, that even in the run all the speed tests of the Mercury Engine DVCPROHD were mainly shown. Apparently so does the engine at the moment with this codec best (otherwise it would hardly Adobe chosen for his demos). Switching off between CUDA / GPU and software renderer back and forth, Premiere said that the rendered preview files may look different and should be deleted. An old problem: If one Int-colors in the floating-point transfers for the GPU space, it's easy to become changed the colors you could see a mix with natural. This information could also indicate that the effects are still not completely calculated the same perhaps. A similar problem was there way into Vegas Video 8, when the 32-bit float color space is not a "normal" 8 Bit Color space in years. This engine got the Mercury in our beta often still access the image and then remained all black. If it works, however, already comes to humor. AVCIntra with clips from a Panasonic HPX300 we were finally able to stream to a 3 way color correction in real-time play. Something we have known only from Grass Valley Edius Neo Booster and not with 32 -bit Float processing. But a second stream with a secondary correction mask brought our stutter certainly not badly equipped machine's. Therefore, support for CUDA effects already in the beta is pretty potent failed. Combining only the following effects on a clip, it allows the performance to the limit, because here the graphics card does not have to make transfers back to the main memory. The accelerating effects in fetchmail is useful. Fast color corrector, Three-way color corrector, RGB color corrector, Luma corrector, RGB curves, Luma curve, Ultra Keyer, Gaussian blur, Proc amp, Color Balance (RGB), color matching, color replace, Black & white, crop, extract, Gamma correction, horizontal flip, vertical flip, brightness & contrast, levels, time code, Tint, alpha adjust, Feather edges, noise, Video limiter, track matte, garbage matte (4, 8, 16 point), Basic 3D, Sharpen, and drop shadow. In addition to standard features such as overlays, transparency and movement, and color space conversion and interlacing when necessary via CUDA be accepted.

But from the Mercury Engine, except at some small improvements done well: Like that you can create a new sequence, for example, by clip on the "New Sequence" button moves one. This automatically creates a new sequence with the clip parameters (including resolution, frame rate Codec etc.) are created. Moreover, the separation scene for HDV have been improved. This has long voiced the wish of us heard one: you can again simply a frame from the timeline . Save Previously you had to at least 5 clicks with three riders through the Media Encoder for this march. These monitors can be set at last desktop, which Field they show, or whether they both fields in interlaced Material show. Even the actual cutting has learned innovative: Just press a key to a clip on a track to the current time marker to be extended the length. Also, leave gaps between clips and the timeline automatically detect and delete. As an effect of the Ultra Keyer is now added, which is a few years wandering through the acquisition of Serious Magic the Adobe portfolio and is now integrated finite. At the Ultra keyer had to get straight with DV material a good reputation, especially with fluids and smoke as well as uneven lighting good results.

We could try out yet, but as another killer feature can now exchange Premiere project files with Avid and Final Cut Pro. This, of course, no remarkable effects are passed, but an average project with standard transitions should be accepted without changes. Furthermore, Adobe has continued its "Script to Screen" workflow. About Adobe Story write his script, including production notes as metadata and can add these during the filming of OnLocation in the metadata of the Clips. During editing, then not only are the metadata available. The speech recognition in spoken dialogue for the premiere recognizes the current position in the script. So you can click on the script editing scenes and premiere jumps to this point in the timeline. This can automatically from the screenplay-dialogues subtitles for a DVD / BluRay be produced in Encore.

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Adobe Media Encoder CS5:
Adobe transcoder to compress the video data in all possible formats, comes with an improved user interface as a separate 64-bit application bundled with Premiere CS5. Metadata when editing videos and contact needs to Encore as a basis for the chapter divisions of DVDs / Blu-ray discs passed by. New in Adobe Media Encoder CS5 addition to supporting popular formats such as MPEG-2, MPEG-4, H.264, FLV, F4V, Windows Media and QuickTime's support of AVC-Intra and DPX.

Also new is the possibility of encoding directly from Premiere without having to use the batch list to start from Pro and encoding settings of the target format (such as TV standard frame Rate, Field-order or pixels Aspect Ratio) automatically according to the format of the source material set that works on output to H.264 (DVD), MPEG-2 (Blu-ray) and MPEG-2 (DVD).


Adobe Encore CS5 web:
Adobe's DVD / Blu-ray authoring program now supports in cooperation with Premiere Pro projects with 4K resolution - the original material is passed through to the final encoding and scaling for Blu-ray. DVD and Blu-ray projects can be completely converted by pressing a button moves along with their menus, slideshows and subtitles into search-able Web-DVDs (including HD video). Web-DVDs are formatted for the web DVDs / Blu-ray discs and can be viewed via browser. The basis for the search functions provide also passed the metadata from Adobe Premiere Pro. In addition, Encore Projects CS5 platform independent and can be exchanged without PCs and Macs conversion of data between Windows. Further support Encore now 24p natively in Blu-ray/DVD or Web DVD projects. Moreover, can now also encorder from other manufacturers in the Encore workflow can be used

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Adobe story :
Even as the Free Preview available with new script tool from Adobe, although only separately under the new Adobe CS Live online services available, but it is still strong in the programs of the CS5 integrated Production Suite Premium.

With Story (also in cooperation with other parties to which defined roles can be assigned) on-and off-the script developed, which can then be imported into OnLocation, according to the automatically generated to help organize the Shotlist rotation. In addition, dialogues from the script and other metadata, then commendation in the in OnLocation logged Shtos and can then in Premiere synchronized Pro Shots serve as the basis of a first rough cut and Encore for the chapter titles of DVDs, Blu-ray or web DVDs can be used. The Smart Type feature helps when writing repetitive phrases. You can import scripts in the standard formats, Final Draft, movie Magic Screen Writer and Microsoft Word.


Adobe CS Review:
For the first time it is Adobe CS Review (also a new CS Live online service) which, although not yet available, but later in the year made Premiere Pro CS5 users. Adobe CS Review is the review / acceptance of video material by customers or team members via the web.

Go out from Premiere Pro sequences can be made available for viewing online - Comments to be then in the new Premiere Review window, next to the clips to which they are shown - with exact position on the timeline. Even possible, marking particular parts of the picture so clear is exactly what is says now. Different people, different roles are assigned with different privileges.


Adobe OnLocation CS5:
Also part of Premiere Pro CS5 is OnLocation, Adobe's companion during the actual shooting, with the help of calibrated, video, monitor (via a built Wave form monitor and vector scope) and can be stored directly to disk. New is the support for typeless flash memory camcorder.

During the shooting can have notes, comments and metadata to be recorded automatically based on the metadata to be added to the logged material - whether the material is still on the set or imported later. The built-Field Monitor is in contrast to the camera viewfinder DV, HDV and DVCPRO-native material is exactly as it is recorded. The new media browser window displays the contents of memory is and also understand the special directory structure of P2 or XDCAM recording. Metadata from Adobe OnLocation story of the shooting are used to organize the various sequences and to generate shotlists and embedded as metadata in the form of dialogues in the shots.

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CS5 After Effects :
This program is the 64 bit Particularly to support good: For this was in many projects, the 4 GB limit of the old version to feel that there is no more. This means longer RAM previews, already rendered frames are often still in memory and large projects with many layers provide no more HD for "Out of Memory" errors. A new "feature" is the Auto Keyframe Fashion. As soon as one object or a ine property for the first time moved automatically a keyframe inserted. The integrated Roto-Brush also tried to release objects from complex backgrounds. As with the objects can be simply paint by brush strokes and more separate from the background less well.

After the internal color management Effetcs can now import CUBE-LUTs. Who knows what that is is definitely happy about it. Those who do not, hats earlier not missing. Otherwise, some plugins have been pimped: Mocha can now assign tracking data hand-drawn masks. This may Roto-shapes are now converted directly into After Effects masks. Good for color correction. This Mocha is now natively 64 bit.

Color Finesse 3 LE is now Hue and Saturation curves. These elements have been adapted for some Einsteger what our new features such as Auto Color Exposure or audio provides. IMHO would be something like in "After Effects Elements" was better (no, this has not been announced). In Color Finesse is now also 64 bit native, but not GPU / CUDA of optimized, which would be compared to Apple's Color was certainly cool.

For those who do not want to switch to smaller effects in a 3D program, Digi effects was integrated freeform maps between the clips on flags or bend flying video screens. The program can thereby interact with the AFX-3D cameras and parameters. These are also in After Effects to rediscover each lot of beautiful things in the workflow: there are new options arrangement of objects, support of Photoshop's Adjustment Layers. Individual letters of a word can now in 3D space automatically align the camera and vice versa, the camera can be aligned with one touch on all selected objects. Extruded reposeful 3D objects from Photoshop can be imported directly in 3D space are used. That was still far from everything, but we want to keep so still a few things for our test. Perhaps a final assessment: The whole package has now reached a functionality that is difficult to groom. The fact that Adobe with this release, not just the switch to 64 bit dares, but also so many new Features but also risky. For the old CS4 version still has many edges.