New Video Updates for CS4
New Production Premium CS4 Updates !
What’s new in the Premiere Pro 4.1 Update
The 4.1 updater for Premiere Pro and Adobe Media Encoder are fairly critical updates for the CS4 user. If you are using the CS4 Production Premium Suite, After Effects also has a new updater, 9.02. Below are some of the major changes in these updates. I’ve also listed some of the various bug fixes for Premiere Pro and After Effects. Take the time to scan the list. I’ve also created a “What’s new in Premiere 4.1” video to get you up to speed. For the RED camera users out there, both Premiere Pro 4.1 and After Effects have new workflows for RED R3D files. I do a quick run through of the new features on the new RED workflow in the 4.1 video but there is a completely new Adobe RED video, which walks you through the new workflow in detail. I should also note that Adobe Media Encoder has been updated to match the changes in Premiere Pro 4.1 and After Effects 9.02. One of the most noticeable changes in 4.1 update for Adobe Media Encoder (AME) is the rendering speed. In many cases, you’ll see quite a speed bump.
Click Here to Watch the new video
featuring what’s new in the CS4 Updates
After Effects has a ton of new fixes in the 9.02 update. Todd Kopriva has a fairly complete listing of the changes and fixes in AE CS4 . Click here to jump to his AE blog.
Premiere Pro 4.1 updates:
- Simple Frame Export is now back ! One of the new changes is that you can now choose whether you want TIFF or TARGA.
Here’s the new steps:
- Move Current Time Marker (CTM) to the frame you want to export
- File>Export>Media (don’t get nervous AME won’t need to launch)
- From the Format Drop Down list , Choose either TIFF or TARGA
- You will prompted for a save location
This method does give you one extra step from previous versions of Premiere but you now can choose the format type. I get a ton of emails each week on this feature alone. For the record, I also want to see us enable a right mouse click option from the Current Time Marker on the Timeline to export frame.
New enhanced RED R3D Workflow.
With Premiere Pro 4.1 and After Effects 9.02 we now support the new RED plug-in You’ll also see new a few new presets for 1080p and 720P sequences. While many RED Users shoot in 4K and 2K there are many times when they need to simply export to a 1080 or 720 mode for Blu-ray or web player. These new presets allow them to work in 1080 or 720 from the start of the project or drop the 2K/4K Sequence into a 1080 sequence (nesting) for final output.
New support for RED R3D Media Browser. The Media Browser now shows RED in the “View as:” drop down menu and will Span clips accordingly
New Support for the RED R3D Source Settings window in Premiere Pro 4.1 and After Effects 9.02 which allows you to adjust Decoding, White Balance and Color Settings. You can even save presets
We now support Fractional Resolutions in the Project and Source Panels. To switch working resolutions on the fly, just right mouse click in the Project Panel for Sequence playback or the Source Panel for trimming clips. No more restarting Premiere Pro! You can now preview your 2K and 4K timelines at the optimal resolution and switch and back and forth as needed. For 8 Core 64 bit desktop Desktop computers, most users are seeing Full Resolution at 2K and Half Resolution for 4K . (For Windows users, take a look at the new HP Z600 or Z800 desktops, in my testing they’ve been a solid RED editing experience) For most laptop users , remember to use Eighth Resolution for 4K and Quarter Resolution for 2K. Many users are reporting great results in Vista64 and OSX using 16GB of RAM for 4K workflows.
Long/Large Projects open faster !
- We now parse the Premiere project file in a much different way in order to get large projects to open much faster – This has been a longtime coming. Some of my larger projects would take several minutes to open, they now open in a fraction of the time.
- Native .VOB file support! This feature is just plain cool. For those of you that need to pull video/audio from an old DVD (not copy protected), you can now insert the DVD and watch it pop up in the Media Browser (turn off your auto-play option for Apple or WIN/Power DVD Player ) and just double click it. Once the DVD starts to spin, it will automatically show the VIDEO_TS folder. Double click it and watch your .VOB files start list. Double click on any .VOB file (except those that end in “0”) and they will load into the Source Panel. You can now make IN & OUT points or you can make Sub Clips if you need lots of clips from the same VOB file or chapter. You can then drag these clips down to the timeline (I suggest using DVCPro 50 NTSC or PAL as a SD preset) . Why is this cool? Premiere Pro now looks at your video DVD the same as it would any other tapeless media. If you need to use several DVDs , you’ll need to jot down the VOB file name that you are using and drag the VOB files to your project folder from the DVD. If you need the whole DVD , then just copy the entire VIDEO_TS folder to your project folder. As always, watch your workflow and organize your media in to logical folders. If you are using several DVDs for source material, make several different folders to keep from over writing files. Lastly, if you see a scrambled preview from your DVD in the Source Window or Timeline, then the video is copy protected. If Premiere sees a copy protected DVD it will pass through the scrambled video. How does this work? When you insert a DVD , the DVD player driver will read the disc to see if it is copy protected. This happens at the driver level and not the Adobe Media Browser level. Lastly, if Premiere seems to hang while reading or editing a DVD – Make sure it’s clean and not scratched. If you want to edit the DVD direct from the source, then you need to make sure your disc is 100% readable. Again, if your not sure, copy the Video_TS folder to your Project folder.
Faster/smoother AVCHD playback
New AVCHD Support for Presets @ 1080p & 720P.
- As AVCHD editing gets more and more popular (the prices keep coming down, do a quick search on AMAZON.COM for CANON AVCHD HF , prices are as low as 599.00 for the basic model) we are doing our best to keep up with the changes. When Panasonic introduced the new AVCCAM AG-HMC-150P and most recently the New AG-HMC-40P, my inbox filled up with 1080P and 720P requests. I’m happy to report that these new modes work great. In fact, we used the Panasonic 150P to test the new workflow with the new presets. We also made a number of changes to the way we read Native AVCHD files and the result is better playback support.
NEW Support for Avid Import and Export.
You’ll now be able to Export your Avid Media Composer projects as Avid AAF and Import them directly into Premeire Pro CS4.1.You can make changes in Premiere Pro and Export those changes back to Avid AAF. Obviously you’ll need to manage your AVID media accordingly. Since Premiere Pro and AfterEffects can read many Native file formats directly, you may need to convert your media to a form Avid can read. If you are exporting from Premiere and back to Avid please note that not all transitions and effects are available. Premiere Pro 4.1 also supports some Avid IMX and Avid MXF formats.
What about After Effects CS4 and Avid? Here’s a quick way to get Avid projects into After Effects?
Step 1. Export your Avid Project as AAF
Step 2. Launch Premiere Pro CS4.1 and File>Import and open the Avid .aaf project
Step 3. Check your timeline and make any needed adjustments and then Save the Premiere Pro project.
Step 4. Launch After Effects CS4 (9.02) and File>Import>Premiere Pro Project.
Adobe Media Encoder 4.1 has had a few updates as well.
You’ll see faster Encode times for several formats.
New YouTube Wide Screen HD and SD presets (.mp4)
Better support for RED workflows.
What about those NEW MP4 Cameras ?
Lastly, with tons of new pocket MPEG4 (MP4) cameras coming out everyday. I keep getting emails about supporting them. In nearly all cases, you can edit the format in Premiere Pro CS4. The key is to import the .MP4 into Premiere Pro and right mouse click on the file and goto Properties and look at the info (see picture below). Check these 3 things : Type, Size, and Frame Rate and make a Preset to match it. You can always make a custom Preset using the Mobile and Devices list. Click on the General Tab to make changes. Some MP4 formats like the new Sony Webbie HD Series MHS-CM1 and MHS-PM1 actually make Premiere Pro CS4 think they are XDCAM EX files. If you have this camera, just choose XDCAM EX 1080i, XDCMEX 1080 60i (SP) and you can edit in real time and no Red Line. The picture below shows the properties of a Sony Webbie clip. Again if you have a MP4 camera changes are you can edit , just take the time to check your properties. Many of these cameras shoot in 1440×1080 not 1920×1080 so set your sequence settings accordingly.