Справочник Пользователя для Adobe CS5.5 v5.5, Mac 65107642
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Adobe Premiere Pro CS5.5
What’s New
You can also import Adobe Story*
†
ASTX files and attach them to multiple selected clips in the
Adobe Premiere Pro CS5.5 Project panel. When attached to clips, scenes from the script are
matched to the appropriate video clips by a predefined scene number that’s stored in both the
script and the clip’s XMP metadata. This helps eliminate hours of routine work by enabling you to
effortlessly locate all of the takes of a specific shot or search dialogue, scene elements, or character
names. Better still, that same metadata is retained throughout the production workflow and can be
passed through to Adobe Encore, where it can be used as the basis for DVD and Blu-ray Disc
chapter titles. When you deliver your Encore projects as web DVDs, the script metadata makes the
web DVD content searchable.
matched to the appropriate video clips by a predefined scene number that’s stored in both the
script and the clip’s XMP metadata. This helps eliminate hours of routine work by enabling you to
effortlessly locate all of the takes of a specific shot or search dialogue, scene elements, or character
names. Better still, that same metadata is retained throughout the production workflow and can be
passed through to Adobe Encore, where it can be used as the basis for DVD and Blu-ray Disc
chapter titles. When you deliver your Encore projects as web DVDs, the script metadata makes the
web DVD content searchable.
Closed-captioning support
Closed-captioning requirements are expanding, both because of new regulations and because the
service benefits viewers. As demand for captioned content grows to include both on-air and online
content, broadcasters and content producers are looking for new ways to streamline the process
and maximize their investments in having captions created. With support for 608 and 708 closed
captions through the SCC and MCC file formats, Adobe Premiere Pro CS5.5 now offers the ability to
sync closed captions to video sequences and display closed-captioning data in these file formats.
This enables you to confirm that the captioning data is accurate and properly synced to the
sequence. In addition, captions are visible in the Program Monitor during scrubbing, bypassing the
need to run a closed-caption track through a television set for decoding before it can be viewed.
Adobe Premiere Pro CS5.5 converts 608 closed-captioning data to 708 closed-captioning data, and
vice versa. A new software development kit (SDK) makes the closed captioning data available to
both Adobe and various Adobe partners for display and export over FireWire, SDI, HD-SDI, and
other third-party hardware options.
service benefits viewers. As demand for captioned content grows to include both on-air and online
content, broadcasters and content producers are looking for new ways to streamline the process
and maximize their investments in having captions created. With support for 608 and 708 closed
captions through the SCC and MCC file formats, Adobe Premiere Pro CS5.5 now offers the ability to
sync closed captions to video sequences and display closed-captioning data in these file formats.
This enables you to confirm that the captioning data is accurate and properly synced to the
sequence. In addition, captions are visible in the Program Monitor during scrubbing, bypassing the
need to run a closed-caption track through a television set for decoding before it can be viewed.
Adobe Premiere Pro CS5.5 converts 608 closed-captioning data to 708 closed-captioning data, and
vice versa. A new software development kit (SDK) makes the closed captioning data available to
both Adobe and various Adobe partners for display and export over FireWire, SDI, HD-SDI, and
other third-party hardware options.
Expanded native support for RED digital cinema workflows
Building on the fully native RED R3D format support offered in Adobe Premiere Pro CS5, the RED
R3D Source Settings dialog box has been redesigned, and offers intuitive controls to those who
work regularly with RED media. In addition to the ability to save and load the latest versions of
RMD—as well as the ability to create custom presets—you can now pick a white point and use
either a histogram or a five-point curves interface to adjust red, green, blue, RGB, or Luma values
for a clip. You can choose which Color Science version is used, and FLUTs, Lift, Gamma, and Gain
settings are all supported. In addition, you can now apply the same source settings to multiple
selected RED clips simultaneously.
R3D Source Settings dialog box has been redesigned, and offers intuitive controls to those who
work regularly with RED media. In addition to the ability to save and load the latest versions of
RMD—as well as the ability to create custom presets—you can now pick a white point and use
either a histogram or a five-point curves interface to adjust red, green, blue, RGB, or Luma values
for a clip. You can choose which Color Science version is used, and FLUTs, Lift, Gamma, and Gain
settings are all supported. In addition, you can now apply the same source settings to multiple
selected RED clips simultaneously.
About 608 and 708 caption data
608 caption data is used in analog
608 caption data is used in analog
NTSC video for North American
markets and in DVD production. 708
markets and in DVD production. 708
caption data is used in Advanced
Television Standards Committee
(ATSC) digital video streams.
Television Standards Committee
(ATSC) digital video streams.
About RED RMD files
RED RMD files contain information
about how the shot is graded in
software such as REDCINE-X; it acts
as a sidecar file alongside the R3D
file holding these values. Adobe
Premiere Pro imports and applies
these settings on import, so that
important decisions about how to
interpret the color of the shot are not
left behind.
about how the shot is graded in
software such as REDCINE-X; it acts
as a sidecar file alongside the R3D
file holding these values. Adobe
Premiere Pro imports and applies
these settings on import, so that
important decisions about how to
interpret the color of the shot are not
left behind.
You can view and edit color settings and metadata in RED footage.