Have you heard? Adobe Premiere Pro CS5.5 will be released soon. If you are like me, you are just getting used to the changes that came with CS5. What could Adobe possibly do to make us want to upgrade again so quickly?
While many of the new features in CS5.5 are simply small tweaks, probably the most alluring change has to do with processing speed. When CS5 came out, we learned that CUDA is an Nvidia technology that is used in GPU processing. This technology was used to speed up a number of processes in the last version of this application. Now, with CS5.5, there are even more effects, transitions, and behind-the-scenes processes that are affected by this technology. Adobe states that “…CS5.5 lets you edit faster than ever by offering industry-leading, cross-platform, native file-based workflows and GPU-accelerated filters and effects…” Does that mean my machine won’t freeze up when I try to use time remapping or when I attempt to work with the alpha channel of a clip? If so, sign me up!
Changes in this technology are also said to improve the process of dealing with mismatched media, such as frame rate differences, pixel aspect ratio differences, and frame size differences. This, too, sounds promising.
Many of the other changes that I have read about are not quite as significant. For example, there are quite a few changes that deal with audio. Videographers who use a dual-system sound workflow will probably appreciate several of the new features. Now it is possible to use In points, Out points, timecode, or markers from two or more separate tracks when synchronizing audio and video. In addition, users can now use a feature called Merge Clips to lock a video clip to a separate audio clip so that the two can be manipulated as if they were one asset.
Another small revision has been implemented to make the files and folders in the effects panel less clumsy and easier to work with. In CS5 there are 3 instances of every audio effect: one for mono, one for stereo, and a third for 5.1 audio tracks. It is necessary to select the effect that matches your audio track. In 5.5 Adobe has revised the audio effects folder so that one size fits all. Now each effect is only listed one time and when you apply the effect, Premiere automatically applies the instance of the effect that matches your audio track.
Yes, Adobe was definitely taking a good, hard look at the audio features in Premiere this time around. In fact, probably one of the most significant changes in the entire suite is the substitution of Soundbooth with Audition. The Adobe Creative Suite 5.5 Master Collection and Production Premium editions will come with this new audio editing application. Since I have always liked Soundbooth and use its dynamic link from within Premiere often, I’m not sure how I feel about this change yet. More to come on this topic in future blog posts…
Adobe Premiere Pro CS5.5 also makes it possible to attach a closed captioning data file to a sequence. While this version won’t allow you to output the closed caption text without the use of a third-party device and plug-in, at least it’s a step in the right direction.
Another significant improvement included with Premiere Pro CS5.5 is the ability to add keyframes directly into the timeline using the Pen tool or Selection tool without having to first enable keyframing. You will also be able to set keyframes without a modifier key.
I was also happy to hear that the trial version will include all the same codecs that are included with the full version. The trial version of Premiere Pro CS5 did not come with all of the codecs, and this caused a great deal of confusion for me and for many others. Apparently Adobe has learned their lesson here.
Lastly, if you currently use Final Cut Pro or Avid Media Composer, take note. This version of Premiere Pro supposedly makes it easier for you to import and export to, and from, both of these applications. This should make my colleagues in Media Productions happy.
For more information about Adobe Premiere Pro CS5.5, visit any of the following links: