Adobe premiere pro cs4 pro#
To explain, Apple loaned me a Mac Pro with two quad-core 3.2GHz Intel Xeon processors and 8GB of RAM.
Adobe premiere pro cs4 windows#
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. It’s still not the default, which is silly, but nobody asked me. The initial version of OnLocation didn’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 OnLocation’s own zebras) and in Premiere Pro’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.
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