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MillimeterAdobe CS4: The Next Tier, Part 2
Oct 27, 2008 12:00 PM, By Jan Ozer
In the last installment, I covered the top Adobe Creative Suite 4 (CS4) features you probably didn’t hear about for Adobe Encore, Soundbooth, and Media Encoder. Here, I’ll describe the same types of features for Premiere Pro. Just for the record, the most ink-worthy new features in Premiere Pro CS4 include AVCHD support and the extension of Dynamic Link to include the transfer of sequences from Premiere Pro to Encore and the new standalone Media Encoder. Here are some valuable new features that may not have received the same level of attention in the CS4 news reports.
As I mentioned in the first segment, I recognize that there are many different editing styles and project types; while I've tried to be general, the features that I mention are necessarily idiosyncratic to my editing style and the type of work that I do. I apologize in advance if I omitted features that you feel are most critical.
Figure 1. One project, multiple sequences with different presets.
Click here for a larger image
Different Sequence Presets in the Same Project
When editing HD video, my personal preference is use a sequence preset that matches my target output resolution, irrespective of the acquisition format. Even when shooting in HDV, if I were producing for 640x360 streaming output, I would use a preset that conforms to that resolution. With CS3, however, I had to choose one sequence preset for the entire project, so when producing for Blu-ray and streaming, I had to create two different projects. I could import the first project into the second, which saved some time, but any changes made to the first project after I imported it didn't flow through to the second.
One of the most significant changes in Premiere Pro is the ability to create sequences with different presets as shown in Figure 1. If you edited your AVCHD sequence first, you could drag the finished sequence into the other timelines, treating the AVCHD sequence as a nested sequence. Since the AVCHD sequence is at full 1920x1080 resolution, you'd have to scale it down to fit the other two resolutions and could even adjust positioning—say, for better rule-of-thirds positioning or for a better fit in the 4:3 window. Any edits made to the source AVCHD sequence would automatically flow through to other sequences where it's nested.
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