![]() ![]() On the After Effects CS5 side, the biggest new feature is its 64bit support. Premiere Pro CS5 loading a clip from my upcoming project, a music video for the band “Hello Monster” I generally prefer the PSP type because I always export for my Sony PS3, which also prefers that type of MP4 h.264. CS4’s “PSP”-type MP4 h.264 files used to work just fine. If you check the “PSP” MP4 container type (instead of the “iPod” one), the created h.264 video won’t play with any application I tried it with (I tried CoreAVC, Quicktime, and VLC). ![]() Also, Premiere Pro CS5 comes with support for Adobe Story’s and Adobe OnLocation’s metadata, making it easier putting together a first rough cut.įinally, I found a bug with the h.264 encoder on CS5. This is a key feature for studios that must send whole projects to colorists, or effects and graphics artists, who happen to use different software than CS5. Professionals now can read/save project formats for FCP and Avid MC. dSRL resolutions/frame rates are now supported out of the box in the project settings. Other new features on Premiere Pro CS5 include native support for AVCCAM, DPX, XDCAM HD 50, and AVC-Intra. Stability-wise the Quicktime formats are more stable on Premiere Pro than on Vegas, however, I did manage to crash the whole Vista PC when Premiere Pro froze while switching from the “Editing” to “Color Correction” screen mode. These are speeds that my own video editor of choice, Sony Vegas, can only dream of right now. While with CS4 we’d get about 10 fps with 1080p dSLR footage on our Quad Core PC, with CS5 we get full speed in “draft” mode, and about 16 fps in full 1080p mode. The re-written h.264 playback engine (now called “Mercury”) is very fast in “software” (DVXA?) mode too. This isn’t just one task – there are over 30 different real-time effects. ![]() We are using the GPU for handling real-time effect filters on multiple streams of HD, 2k, or even 4k footage. CoreAVC uses the GPU for one task – decoding a particular video format. “There’s nothing else on the planet using CUDA the way we are. We asked Adobe why such a high requirement of VRAM, when decoders like CoreAVC don’t require as much, and this is their response: Non-supported nVidia cards that do have as much RAM can be supported via a hack. To get advantage of the full acceleration you need an nVidia card with 768+ MB of VRAM. With a supported nVidia GPU you can easily get real-time support not only for “naked” h.264 footage, but also when using some effects. This is by far the main new feature on the video side of CS5. Then, Adobe’s Premiere Pro CS5 came in to change this by being the first video editor to fully utilize nVidia’s CUDA technology and achieve real-time playback for Quicktime dSLR, and AVCHD footage. Until recently, users had to either use “proxy” files, or transcode to an intermediate format. With the explosion of (mostly Canon’s) video HD dSLRs in the last few months, purchase decisions for video editors have shifted, depending on which editor can deal with h.264 the best way. ![]()
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