#Adobe premiere pro cs4 book pro
#Adobe premiere pro cs4 book trial
#Adobe premiere pro cs4 book mac

#Adobe premiere pro cs4 book trial

In Windows, you should maximize the RAM in your computer and check out the trial version of CineForm once itвЂ™s compatible with CS4 to see if it improves performance. If youвЂ™re producing AVCHD on a Mac, you should expect very good performance with CS4. To be fair, this doesnвЂ™t take into account the time it took to convert the AVCHD content to CineForm.

#Adobe premiere pro cs4 book pro

(CS4 isnвЂ™t yet compatible with CineForm.) Premiere Pro CS3 rendered the project in 30:18, shaving the Windows machineвЂ™s processing time by more than 50 percent. To test whether an intermediate codec would produce faster results, I downloaded CineForm HDLink and converted my AVCHD source files to the CineForm intermediate codec and rebuilt the project in Premiere Pro CS3. Premiere Pro CS4вЂ™s general look and feel is very similar to that of CS3.

#Adobe premiere pro cs4 book mac

Tough to tell if this was a memory- or CPU-use issue, since the Mac used up to 75 percent of CPU resources, according to the Activity Monitor the HP peaked at about 46 percent, according to Task Manager. I checked memory usage in the Windows Task Manager, which reported that page-file usage was around 2.5GB - a hefty chunk of the total. On a simple 4-minute AVCHD project, the Mac rendered the project to Blu-ray-compatible MPEG-2 in 11:46 (min:sec), while the Windows workstation took 68:34. Simply by virtue of processor speed, the Mac should have performed about 15 percent faster than the xw6600, and most results were in this neighborhood. For Windows, I used an HP xw6600 with two quad-core 2.8GHz Xeon processors and 3GB of RAM. To explain, Apple loaned me a Mac Pro with two quad-core 3.2GHz Intel Xeon processors and 8GB of RAM. Adobe edits AVCHD natively rather than using an intermediate codec, which seems to work better on the Mac than in Windows - though perhaps this relates more to the configurations of the computers I used in testing. The big new format addition to CS4 is AVCHD, which you import via the traditional File > Import command rather than via a special import procedure. Overall, most users just want the scopes and DVR, and the new interface makes OnLocation much more usable. Users can now create a shot list in a preproduction workspace and add metadata to clips captured via the DVR. Otherwise, Adobe added several key new functions. Long story short, if you prefer IRE values on your waveform, get the update. ItвЂ™s still not the default, which is silly, but nobody asked me. The initial version of OnLocation didnвЂ™t have a screen with IRE values, but with version 4.0.1, Adobe added the screen. Most shooters are much more familiar with the IRE scale, which runs from 1 to 100, and it is universally used in zebra stripes on camcorders (and in OnLocationвЂ™s own zebras) and in Premiere ProвЂ™s internal waveform monitor. The facelift is mostly terrific, except there is one hiccup worth noting: Adobe configured the default screen of the waveform monitor using the RGB scale, which has values from 0 to 255. In CS4, Adobe completely reworked the interface and added native Mac compatibility (rather than relying on a product such as BootCamp for Windows-based operation on a Mac). OnLocation started life as Serious Magic DV Rack, which converted a desktop or laptop computer into a waveform monitor and digital video recorder and offered related tools.