Creative Suite 5 is the latest incarnation of Adobe’s flagship software package, a package that’s responsible for much of the web, print and even video media that we see around us every day. So although it’s possible to order the ‘Master Collection’, most of us will be restricting ourselves to just some of the delights on the menu see ‘Adobe CS5 Packages’ table. Previous versions of the Creative Suite have given buyers the choice between ‘Standard’ or ‘Premium’ versions, but in CS5 the only ‘Standard’ version to survive is Design Standard, which includes the standard version of Photoshop rather than the Extended version used by all the other packages.
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Creative Suite 5 is the latest incarnation of Adobe’s flagship software package, a package that’s responsible for much of the web, print and even video media that we see around us every day. So although it’s possible to order the ‘Master Collection’, most of us will be restricting ourselves to just some of the delights on the menu see ‘Adobe CS5 Packages’ table.
Previous versions of the Creative Suite have given buyers the choice between ‘Standard’ or ‘Premium’ versions, but in CS5 the only ‘Standard’ version to survive is Design Standard, which includes the standard version of Photoshop rather than the Extended version used by all the other packages. As you can see from the Adobe CS5 Packages table, Adobe are asking serious money for CS5, and even the upgrade cost from CS4 is pretty significant, so what’s in there to justify the big numbers?
In this review I’ll be homing in on the apps that are most relevant to video production in the Production Premium version of the package, leaving some other aspects aside. It’s to Premiere Pro that the content created in Illustrator, Photoshop and After Effects will most often be sent, to be woven into the timeline of the programme or video being edited.
It’s also generally from Premiere Pro that the project will be passed on to the ‘delivery’ apps, such as Media Encoder and Encore. Premiere Pro is the descendant of the original Premiere editor, which first saw light of day in Way back then, it was capable of editing Quicktime movies of up to xpixel resolution. How things have changed! Today’s Premiere Pro supports formats all the way up to 4K digital cinema, provided your computer is man enough for the task.
Within each folder are choices of frame rate, frame size and data rate as appropriate. There are inevitably some differences, though: Further information is available from https: Though the service is in its infancy, the expanding CS Live allows collaboration across the internet.
Premiere Pro CS5 may not look so very different to its predecessors, but behind the interface things have changed radically. This allows it to unlock the performance potential of Windows 7 and Mac OSX Snow Leopard, and to take advantage of the increased amounts of RAM that these operating systems can address. Mercury combines bit processing with extensive use of the 3D acceleration available on your graphics card to massively improve timeline playback performance and responsiveness to scrubbing, shuttling and jogging through clips.
The only down side of this is that your choice of graphics card is restricted: Previously, Premiere Pro has lagged behind its peers in this important respect, and it’s certainly been my experience that, on the same hardware, the best media replay performance came from Avid Media Composer, with Final Cut Pro close behind.
Premiere Pro would often drop frames or quality in circumstances where the others sailed straight through. Not any more. This can make editing quicker and slicker when dealing with awkward media such as AVCHD, and save disk space when dealing with full HD and resolutions beyond.
In fact, editors familiar with FCP will feel quite at home, once some basic familiarisation has taken place. This makes sense in so many ways. We take it for granted that, for example, cars should have basically the same controls in basically the same places, and so it should be with mature software types like the NLE.
The fact is that this is the way Avid NLEs have traditionally dealt with timeline sync, and the suspicion has to be that Adobe are seeking to make Premiere Pro more accessible to Avid users. Track patching means that tracks must be selected before video and audio is dragged in.
This isn’t the only example of this ‘convergent’ philosophy. In the new scheme, adding audio tracks required three criteria to be met. This had resulted in the pro editing community, and particularly the broadcast industry. Is this still true? With this in mind, it’s perhaps not surprising that one of the most significant new features is the ability to create web DVDs with search capability.
Encore is reliant on Adobe Media Encoder for transcoding video assets, and can now perform transcoding tasks in the background while work on menu structure carries on. Designed to assist with the acquisition of your video, On Location would typically be used unsurprisingly on a shoot location as an aid to getting both the technical aspects of the shot right it provides waveform monitoring of the video signal it’s capturing and the production aspects of logging shots and adding metadata.
In addition to setting in and out points on media, On Location also allows Markers to be added on the fly, which can be transferred onward to Premiere Pro for editing, complete with all the metadata you’ve added. Indeed, it’s perplexing that Premiere Pro has struggled to achieve the same revered status in its market sector. The philosophy of After Effects has always been simply to allow pretty much anything to be composited with anything else.
This has only recently been challenged by Apple’s Motion, which seeks to do as much as possible in real time by making full use of the capabilities of the graphics card, but is a much less adaptable piece of software. Sharing the same playback engine also means that After Effects can work with the same range of formats as Premiere Pro, including all the popular suspects.
The new Auto Keyframe command takes some of the effort out of extensive keyframing. Another cracking new tool is the Rotobrush. Similar to the Extract tool in Photoshop, the Rotobrush speeds up the extraction of moving objects from their background by allowing you to draw roughly around the object, and then intelligently analysing your brush strokes to work out where the boundary of the object must be.
This is then applied to the next frame and automatically updated. You can easily adjust the shape manually to correct for its mistakes, and controls are provided to allow you to smooth, choke and feather the resulting mask.
It’s all very impressive in operation, and well thought out. In addition to After Effects itself, two important additional applications bundled with CS5, Mocha and Color Finesse, have both been updated.
Rather than specifying tracking points within the frame, Mocha tracks planes or surfaces, so tracking perspective changes is theoretically and practically much easier.
In addition, it now handily supports the Tangent Wave control surface, for hands-on colour grading. Indeed, you get the impression that, given their own way, Adobe would have all aspects of web content creation neatly under their control. It’s against this background that you may have read of Apple’s refusal to incorporate Flash Video compatibility into the iPhone, citing the forthcoming HTML5 standard as justification.
Many in the industry suspect this as being simply corporate posturing, with Apple unwilling to kowtow to Adobe’s might in the web arena.
Flash Catalyst allows you to import artwork created in Illustrator or Photoshop, Flash Video content. FLV or. F4V created in Media Encoder and Flash animations. Different pages, or ‘States’ can be built, and buttons programmed to take the viewer from one to the next.
However, if you switch the interface from the ‘Design’ Workspace — where you lay out the elements and get creative — to the ‘Code’ Workspace, Flash Catalyst’s power does begin to reveal itself. This offers the possibility of much more sophisticated onward development of your work in the more heavyweight Flash Builder app, if you’re so inclined not included in the Production Premium package.
Now, if Apple would just behave and get on board….. Conclusions Adobe have made useful improvements across the board, some tiny but nonetheless welcome. It’s often the case that new releases concentrate on introducing tasty new features while leaving the annoying niggles of the previous version unresolved. This has always been one of the strengths of Apple’s Final Cut Studio, and probably the biggest weakness of Avid’s Media Composer suite.
Of course, Adobe’s Creative Suites are more comprehensive in their spread than either of their competitors, and the question is therefore: The key to answering that is how well Premiere Pro stacks up against the opposition. At ‘prosumer’ level, you’d need to be sure you need the capabilities of the rest of the suite to justify the extra cost compared with FCP Studio. That said, the package price is not unreasonable given the huge capability on offer.
The same is true if your interest is in the production of Flash content: These two advances signal that Adobe’s Creative Suite is well positioned to take advantage of the continued growth of computing power and the inexorable rise of HD video standards.
Vectors are not like pixels; they are mathematical components, and zooming in will not make them ‘pixelated’. All of the above are features of ‘standard’ Photoshop. So what does the ‘Extended’ version offer in addition? Photoshop Extended’s extra features can, however, be useful for animating graphics in After Effects.
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This software allows us to record videos from the camera to our personal computer or the deviceвs memory card. Similarly, we can display live images from our Canon device straight on the screen of our own computer.
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