Avid Media Composer editor
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Using Adobe® Premiere® Pro CS5
in your Avid Workflow
Professionals today mix and match post-production tools based on specific project
requirements and production challenges. This guide explains how—and why—Avid users
can take advantage of Adobe Premiere Pro CS5 software to speed production or as a
gateway to other software components of Creative Suite 5 Production Premium.
What’s included:
•Adobe Premiere Pro CS5
• Adobe OnLocation CS5
•Adobe Encore CS5
•Adobe Device Central CS5
• Adobe Bridge CS5
• Adobe Media Encoder CS5
Adobe Premiere Pro CS5 is also
available as a component of Adobe
Creative Suite® 5 Production
Premium and Adobe Creative Suite
5 Master Collection.
Adobe Creative Suite 5 Production
Premium combines:
• Adobe Premiere Pro CS5
• Adobe After Effects® CS5
• Adobe Photoshop® CS5 Extended
• Adobe Illustrator® CS5
• Adobe Flash® Catalyst™ CS5
• Adobe Flash CS5 Professional
• Adobe Soundbooth® CS5
• Adobe OnLocation CS5
• Adobe Encore CS5
Additional components:
• Adobe Dynamic Link
• Adobe Bridge CS5
• Adobe Device Central
Integrates with new
Adobe CS Live online services*
*Adobe CS Live online services are
complimentary for a limited time.
Whether working solo or in a workgroup that’s involved in a large multi-studio production, industry
professionals typically use a variety of production and post-production tools on virtually every project.
Moving media and sequences between tools in complex production pipelines often requires format
conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to recreate elements that
don’t transfer. Adobe Premiere Pro CS5 eliminates these hurdles by giving Avid editors, such as those
using Media Composer, an open workflow, sharing sequences easily and preserving commonly used
effects and transitions. Simply import an Avid AAF sequence into Adobe Premiere Pro CS5 and you’re on
your way to tight integration with components of Production Premium.
Why introduce another NLE into your workflow? With the new Mercury Playback Engine and industryleading native tapeless support, editors are likely to find that, for many projects, Adobe Premiere Pro CS5
offers superior performance and a more convenient workflow. Video professionals who have purchased
Production Premium as a cost-effective way to acquire After Effects, Photoshop, and Illustrator, already
have access to Adobe Premiere Pro. For others, the prevalence of HD and higher-resolution projects and
the desire for a more streamlined way of handling tapeless media is prompting a re-evaluation of
toolsets. In this document, we’ll introduce some of the reasons editors should consider Adobe Premiere
Pro, as well as some of the project types that benefit from the distinct power of Adobe Premiere Pro.
Open workflows and new features in CS5 deliver flexibility and power
Whether you’re interested in tapping into the high-octane performance the new Mercury Playback
Engine offers, using Adobe Encore CS5 for Blu-ray authoring, or looking for a better workflow on
effects-heavy projects, Adobe Premiere Pro CS5 enables easy project exchange with Avid NLEs.
Exchange projects easily
Adobe Premiere Pro CS5 can import Avid sequences that have been saved as AAF files, and you can also
export Adobe Premiere Pro sequences as Avid AAF sequences, for a round-trip workflow. This means
you can share media files and sequence information without conversion or rendering, while preserving
commonly used effects and transitions. In most cases, there is no relinking of media and a translation
report added to the project’s main bin provides information about any approximations that have been
made during the conversion. Similarly, you can also import and export Apple Final Cut pro sequences
using XML.
Edit faster with the new Adobe Mercury Playback Engine
Adobe Premiere Pro CS5 sets a new standard in high-performance, responsive editing by allowing you to
work dramatically faster thanks to the new, completely redesigned playback engine that is native 64-bit,
multicore, and GPU-accelerated. The Mercury Playback Engine provides rock-solid performance and
stability so you can work smoothly at 4K and higher resolutions while experiencing dramatic
improvements in performance and stability. Open projects faster, scrub through HD and higher
resolution projects fluidly, and handle long-form content and effects-heavy sequences reliably. Play
through common transitions and effects without rendering and render for final output much faster.
Supported NVIDIA
graphics cards for GPU
• Quadro CX (Windows)
• Quadro FX 3800 (Windows)
• Quadro FX 4800 (Windows and Mac)
• Quadro FX 5800 (Windows)
• GeForce GTX 285 (Windows and Mac)
Please see www.nvidia.com
for system requirements and
The list of graphics cards that
are compatible with Adobe
Premiere Pro CS5 is updated on
a regular basis. For an up-todate list of supported cards,
please see www.adobe.com/
The Mercury Playback Engine has two real-time modes: The software-only mode which utilizes all
CPU cores in your computer and the hardware-assist mode which leverages the CPU in your
computer and the GPU of your graphics card for even greater productivity. The software-only
mode provides excellent playback on a laptop while the hardware-assist mode gives Avid users
equipped with a supported NVIDIA® card an additional performance boost. For an even more
flexible editing environment, move projects back and forth from a laptop to a desktop, as well as
from a Windows 7 64-bit system to a Mac OS.
When editing on a workstation and leveraging the GPU on your graphics card, The Mercury
Playback Engine works hand in hand with NVIDIA® CUDA™ technology to solve many complex
computational problems in a fraction of the time a CPU would take to perform the same task. In
addition, utilizing the GPU to accelerate effects, rendering, and other processor-intensive tasks
frees your system’s CPUs to handle background tasks.
The enhanced, native 64-bit system architecture in Adobe Premiere Pro CS5 lets you use all
available system RAM (up to 192GB in today’s computers), so you can run multiple software
applications at the same time. This opens the door to powerful timesaving, multitasking workflows.
For example, you can simultaneously edit a very complex, effects-laden project in Adobe Premiere
Pro while your system’s CPUs render an elaborate After Effects composition in the background.
If you’re working on a laptop that is unable to play back challenging footage such as 4K RED files or
sequences with extensive effects, Adobe Premiere Pro CS5 includes the ability to adjust the
playback resolution of your video in the Source Monitor or Program Monitor. Separate Playback
and Pause resolutions give you more control over monitoring. With higher resolution footage such
as 4K, you can set playback resolution to a lower value for smooth performance (for example 1/2,
1/4, 1/8, or 1/16 resolution), and set Pause resolution to Full. This allows you to quickly check the
quality of focus or edge details when playback is paused—useful for when you don’t have the
luxury of an on-set HD monitor.
Get a better tapeless and DSLR workflow
Save precious editing time by eliminating the time-consuming transcode and rewrap process when
you work natively with tapeless media and footage shot on DSLR cameras. Adobe Premiere Pro
CS5 leads the industry by supporting the latest tapeless formats natively including RED, P2, AVCHD,
AVC-Intra and XDCAM. Native editing support for DSLR cameras is also available and includes
Canon 5D Mark II and 7D cameras, Nikon D90, D300s and D3000 cameras, and others.
When you work with tapeless media in Adobe Premiere Pro, you gain three key advantages. First,
you save time because you’re able to start working with footage immediately—sometimes directly
from the camera—thus eliminating the time-consuming transcoding and rewrapping process
required when you use the same media in Avid Media Composer. Second, you maintain the pristine
image quality of your source footage throughout the production process. Finally, because Adobe
Premiere Pro does not convert the file to another format, metadata acquired from the camera is
retained throughout the production process.
The Media Browser in Adobe Premiere Pro
displays the complex folder structures of
file-based media (such as P2) to give you
access to the actual clips within.
Adobe Premiere Pro provides an easy way to find and import tapeless content through the Media
Browser, which gives quick access to your hard drives, cards, camera, and other storage media.
Each camera format packages its video and audio in different file wrappers and folder structures,
with metadata and media
stored across several files,
but the Media Browser
wades through these folder
hierarchies and provides
immediate access to just the
needed video and audio files.
Additionally, the Media
Browser presents spanned
clips (single shots split
between cards) as single
files. You can double-click on
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
a clip in the Media Browser to preview it in the Source Monitor before importing—which saves
additional time because you don’t need to import files just to preview them.
Editing RED footage in Avid Media Composer vs Adobe Premiere Pro
Using RED R3D files in Adobe Premiere Pro is much simpler than in Avid Media Composer. In
Media Composer, you must first transcode the RED footage to DNxHD, which is Avid’s native,
compressed HD media format. To output the entire sequence, you usually have to re-import at a
higher resolution for high definition. Since Media Composer can’t output 2K or 4K files, it becomes
necessary to recreate the entire sequence in a higher-end DI finishing solution to create a film out.
However, Adobe Premiere Pro can open these files – up to 4K – and they can be displayed and
worked on in a fractional resolution without transcoding or the need to import lower resolution
proxy files. You simply need to choose one of the RED HD sequence presets and start editing. These
fractional resolutions—from full
resolution down to 1/16th
resolution—can be considered as a
preview or working resolutions and
don’t actually alter the source file in
any way. The full 4K resolution is
actually attached to the sequence and
you are able to export this directly to
DPX or Cineon files using Adobe After
Effects without re-importing or
exporting of the original files. The
fractional resolutions in Adobe
Premiere Pro can be changed at any
time in the edit by simply rightclicking the source or sequence
monitor and switching to a resolution
that either allows you to play
smoothly in real-time or to see the
improved picture quality of a higher
resolution. Qualified desktop systems
Get the best possible rendering from RED RAW footage, preserve
are often able to work in full or half
maximum image quality by applying nondestructive adjustments, and
resolutions; qualified laptops are
achieve exactly the look you want with the RED R3D Source Settings
usually better at 1/4 or 1/8 resolution. dialog box in Adobe Premiere Pro.
Editing XDCAM footage in Avid Media Composer vs Adobe Premiere Pro
Avid Media Composer is able to import files from XDCAM in their native resolution and size, but
that is not the suggested workflow for many who edit with Media Composer. Because of the much
shorter import times for proxy files, it is usually suggested to use those files for the initial edit,
however the audio resolution for these proxy files is very low and difficult to listen to, so bringing in
full resolution audio into an Avid proxy edit requires 3rd party software and then requires
re-importing the video footage at a higher resolution at the end of the project before output.
None of this is necessary with Adobe Premiere Pro. Simply plug in the card or optical disk, import
the files into Adobe Premiere Pro or start working right off the card. Once the footage is in Adobe
Premiere Pro, you can hand media or projects back and forth between Adobe After Effects and
Adobe Encore without ever needing to re-import, render or export.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Project types that benefit from an Adobe Premiere Pro workflow
There are many types of projects that benefit from the capabilities of Adobe Premiere Pro CS5 such
as same-day edits, effects-heavy projects, scripted projects and interviews. Each presents particular
challenges which Adobe Premiere Pro is uniquely able to address.
Same-day edits
The ability to edit footage the same day you shoot is critical in today’s competitive event video
market or fast-paced newsroom. Adobe Premiere Pro CS5 helps you deliver same-day edits with
ease thanks to the new Mercury Playback Engine and the world’s best tapeless camera support.
After Effects and Adobe Premiere
Pro: ideal partners
• Edit a sequence in Adobe
Premiere Pro and see updates in
After Effects.
• Edit an After Effects composition
and have changes automatically
update in Adobe Premiere Pro.
• Drag and drop or copy and paste
clips and timelines.
• Share most After Effects plug-ins
with Adobe Premiere Pro.
Effects-heavy projects
When higher production values are a requirement, industry-standard After Effects gives you the
power to deliver attention-getting show openers, lower thirds, and other types of motion graphics
and visual effects while solving a broad range of post-production challenges. And, Adobe Premiere
Pro and After Effects are ideal partners in a post-production workflow. No nonlinear editor, without
a third-party plug-in, integrates as smoothly with After Effects as Adobe Premiere Pro, and Dynamic
Link is at the center of this integration.
With Dynamic Link (available only as part of Adobe Creative Suite 5 Production Premium), a single
shot or an entire sequence (including effects, transitions, and multiple tracks) in your Adobe
Premiere Pro project can be dynamically linked to After Effects without rendering. After refining
the shot in After Effects, the footage is automatically updated in Adobe Premiere Pro without
rendering, replacing, or relinking—saving you valuable production time. With Dynamic Link, you
only need to render at final output. Plus, Dynamic Link in Creative Suite 5 is now even faster thanks
to native 64-bit performance.
Time-saving advances in After Effects CS5
After Effects CS5 offers timesaving presets and templates, as well as the ability to refine virtually
every aspect of every design element. After Effects handles complex, post-production tasks, such
as color correction, motion tracking and stabilization, keying, and rotoscoping, and now, thanks to
native 64-bit OS support, includes the ability to fully use your computer’s memory for dramatic
performance gains when working on high-resolution projects. Additionally, when installed as part
of Adobe Creative Suite 5 Production Premium, you can coordinate RAM allocation between After
Effects, Adobe Premiere Pro, Adobe Encore, and Adobe Media Encoder thanks to cross-component
memory management.
Now available in After Effects CS5 is the revolutionary new Roto Brush, which provides a fast,
efficient solution for isolating foreground elements in complex scenes. In the past, this work was
time-consuming and expensive, and as a result, often reserved for big-budget projects. The new
Roto Brush is so fast that editors can now perform rotoscoping on virtually any project—from
previsualization to final composites—with greatly reduced concern about project budgets or
The revolutionary new Roto Brush
enables you to separate foreground
elements from complex backgrounds in
a fraction of the time it would take using
traditional rotoscoping techniques.
Teach it how to process one frame, and
Roto Brush automatically tracks the
footage and applies the same criteria
across multiple frames.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Scripted projects
Adobe Story, a new CS Live online service* for scriptwriting, available separately from Premiere Pro
CS5, extends Adobe’s video workflows into pre-production and helps accelerate the process of
turning screenplays into finished media. And, through tight integration with CS5 Production
Premium, the benefits of Adobe Story extend into broader areas of the production and postproduction workflow.
As a screenwriting tool, Adobe Story enables you to craft your scripts from virtually anywhere in a
safe offline or online writing environment. You and your colleagues can collaboratively co-write
and edit scripts at any time and assign various team member roles, such as read-only mode or
review-only mode. Adobe Story makes it easy to write and maintain your script in standard
industry format, while also offering the option to import existing screenplays or sample scripts
from Final Draft, Movie Magic Screenwriter, and Microsoft Word.
The Formatting toolbar provides
familiar word-processor-like
controls. In addition, Story
supports keyboard commands for
fast, efficient navigation.
The Outline panel in the Authoring
view provides a high-level
overview of your script.
Use up to six color-coded dots
to identify the presence of
characters in your scenes. View
the name of the character
by placing the cursor over a
character dot.
Adobe Story automatically
numbers each scene.
Scene duration is calculated
based on preset or custom
The Tagging panel lets you
manually identify individual
elements and production
requirements. These can be colorcoded, as shown in the script above,
or displayed in boldface.
Speed production and post-production with a script-to-screen workflow
To streamline production, import an Adobe Story script into Adobe OnLocation CS5, a powerful,
direct-to-disk recording and monitoring solution (see Interview-intensive projects section for more
information). Metadata created in Adobe Story helps you manage your shoot with automatically
generated shot lists and efficient logging capabilities. Additionally, dialogue from the script and
other metadata is embedded into the shots you log in OnLocation. When you later import your
footage into Adobe Premiere Pro, you can synchronize your Adobe Story script to that footage,
making it possible to quickly produce preliminary rough cuts based on the dialogue transcript.
Further, the metadata in the assets are retained throughout the production workflow and can be
passed through to 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.
Interview-intensive projects
Adobe Premiere Pro CS5 offers you unique capabilities to shoot and edit interview-intensive
projects easily, plus gives you the added benefit of delivering them online with powerful search
* Adobe Story and other CS Live online services are complimentary for a limited time.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Shooting directly to disk and monitoring footage with Adobe OnLocation CS5
When shooting interviews, Adobe OnLocation, included with Adobe Premiere Pro, records DV,
HDV, and DVCPRO footage directly to disk enabling you to bypass tape completely. While at the
interview, use the field monitor and other monitoring tools to review recorded footage to ensure
all aspects of continuity. From detecting an inaudible voice pop on headphones to a flash of
reflected light from a passing vehicle, OnLocation visually indicates if there are technical problems
with your shoot. OnLocation also helps you compare one clip to another so you can catch
wandering microphones or changes in camera framing or brightness.
Audio level meters help you keep
track of your audio signal so it
doesn’t distort.
Audio pop alerts identify when
sudden surges occur that are
too short to register on meters.
The vectorscope displays the
amount of color in the video
signal for either the full frame or
for a single horizontal line within
a frame.
The field monitor displays
footage from your camera.
And unlike your camera’s
viewfinder or LCD screen,
the field monitor displays
the entire frame in detail so
you know exactly what will
be recorded.
The waveform monitor
operates in YUV or RGB color
spaces, so you can evaluate
luminance and saturation
levels. Select display mode
from the pull-down menu.
Track essential
information in the
Metadata panel.
Use the Find box to
quickly locate what
you’re looking for by
searching keywords.
Mark your good
takes and rate
The Shot List lets you keep
track of locations, In and Out
point timecode, and other
Comment on each
take during or after
the shoot.
Describe each
Catalog your scenes Keep track of Label shots by
Camera make
and clips.
the camera used,
and model.
and note planned
moves such as pans
and dollies.
Automatically capture
record date, media
duration, and other
vital information.
When working with tapeless media, you can use the waveform monitor and vectorscope as well as
the audio spectrum analyzer to identify image and audio problems in imported files by quickly
scanning your footage for audio pops, clipping, and video overbrights. Catching these subtle
differences onset can be corrected immediately and help reduce the fix-it-in-post hassles.
Key footage quickly with the Ultra® keyer
Ultra, the new keyer in Adobe Premiere
Pro, is optimized to handle real-world
greenscreen conditions. Using simple,
intuitive controls you can pull a highquality key quickly.
Due to complexity, costs and typically poor results, using a green screen for interviews is usually
reserved for professional studios or big-budget projects. With the new Ultra keyer in Adobe
Premiere Pro, you can now add greenscreen to your set of daily production tools. Designed to work
with portable setups such as client locations, shots that used to be impossible to key—uneven
lighting or wrinkled backdrops—can now be finished in minutes. Plus, Ultra preserves the shadows
of your talent and even achieves complex keys such as smoke, liquids and transparent objects with
minimal effort.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Turn video assets into engaging online experiences
Use Adobe Premiere Pro integration with Adobe Story* to turn previously completed or unscripted
video assets into engaging online experiences. To do this, create a transcription of your interview
footage, which functions much like a script. Next, create a new Adobe Story project, and then copy
and paste that transcription into it, producing a new Adobe Story script. Using the text from the
transcription, you can then break the text into scenes that serve as major points in the video, such
as key themes in an interview. You then add additional metadata for each section, for example, a
short description of that scene’s key points (e.g., “This section of the interview covers how the film
was made.”).
When you’re satisfied with your segmented video, for better online navigation, you can create
subclips from the finished video to match the scenes you’ve outlined. Then import your Adobe
Story script and the subclips into OnLocation. The script data automatically creates placeholder
clips that you can then attach to the clips from the finished asset. In OnLocation, you can also add
additional metadata to your clips, such as shot-specific metadata and shot locations to your clips.
Next, you can import the OnLocation project into Adobe Premiere Pro, and run an analysis to
synchronize the script to footage to enable full, time-accurate searchability. You can edit the clips
as you normally would, and Adobe Premiere Pro keeps everything lined up correctly, so that when
you render the video using Adobe Media Encoder, for example into F4V or FLV, the metadata-rich
assets are ready to be searched using Encore’s searchable web DVD features. For a more richer
experience, create a custom player in Flash Professional or Flash Builder and not only search
dialogue but speakers, shot locations, and more.
Unparalleled integration within Adobe CS5 Production Premium
Moving beyond the distinct benefits of using Adobe Premiere Pro for editing, there are additional
reasons to add it to your Avid workflow. Adobe Premiere Pro offers tight integration with other
components of Production Premium: Adobe After Effects, Adobe Encore CS5, Adobe Photoshop®
CS5 Extended, Illustrator® CS5, Flash Catalyst, Flash® Professional CS5, Soundbooth® CS5, Adobe
Bridge CS5, and Adobe Device Central CS5 software. Most of these applications easily share media
with each other and are designed to work together to retain file format quality and metadata. And,
using Dynamic Link, Adobe Premiere Pro easily hands off projects to After Effects and Adobe
Encore without intermediate rendering which is a real asset in the critical final stages of production.
Eliminate intermediate rendering with Adobe Dynamic Link
As mentioned earlier, Dynamic Link gives you tighter-than-ever integration when moving assets
between Adobe After Effects CS5, Adobe Premiere® Pro CS5, and Encore® CS5. An integral part of
CS5 Production Premium, Dynamic Link enables you to work faster and stay in the creative flow by
eliminating intermediate rendering when you make changes to assets — whether you’re editing a
sequence of clips in Adobe Premiere Pro, changing a composition in After Effects, or delivering a
Blu-ray Disc project in Encore.
When Adobe Premiere Pro is installed
as part of Production Premium, use
Dynamic Link to eliminate
intermediate rendering when
exchanging Adobe Premiere Pro
sequences and After Effects
compositions or sending sequences or
compositions to Encore. Make changes
in one application and see it update
immediately in the other.
After Effects Integration
After Effects integration allows you to edit a composition and have your changes appear
automatically in Adobe Premiere Pro, or edit a timeline in Adobe Premiere Pro and see the updates
in After Effects — both without intermediate rendering.
Save time and preserve project organization when working with Adobe Premiere Pro projects.
Preserve bins, edits, markers, keyframed effects, nested sequences, transitions, and more from
Adobe Premiere Pro. Drag and drop or copy and paste clips from one application to the other and
transfer groups of edited clips for motion graphics work in After Effects using a single command.
Adobe Premiere Pro also re-creates the structure of your clips in an After Effects composition, and
then imports the composition into the timeline using Dynamic Link. From there, changes made in
After Effects are shown automatically in Adobe Premiere Pro, enabling you to experiment with
your motion graphics without having to render first. Plus, as an added benefit, Adobe Premiere Pro
takes advantage of After Effects CS5 software plug-ins to expand your effects options.
* Adobe Story and other CS Live online services are complimentary for a limited time.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Adobe Encore Integration
Adobe® Encore® CS5 is a versatile, interactive authoring tool you can use to deliver projects for DVD,
Blu-ray Disc, or web DVD, which is a full-featured SWF file viewable with Adobe Flash® Player.
Integration between Adobe Premiere Pro and Encore is seamless because you can send media and
timeline markers directly to Encore for authoring. While in Encore, use Edit Original to modify your
original project in Adobe Premiere Pro, and then import the changes back into your DVD project.
Plus, using Dynamic Link, you can send sequences directly from Adobe Premiere Pro to Encore
without rendering first. Encore also reads chapter markers from the sequence, making it easy to set
chapters in Adobe Premiere Pro, see those chapters in Encore, and then update to the latest list
with a single click.
For menu creation, create new menus in Photoshop and buttons, text, and images are stored as
layers and layer sets in Encore. A simple right mouse click in Encore will allow you to edit menu
elements at anytime in Photoshop and changes will automatically be updated in Encore. When
creating elements such as motion menus and interactive buttons, export movies from After Effects
with markers that Encore reads as chapters. Dynamic Link between After Effects and Encore
eliminate intermediate rendering between the two applications.
Photoshop integration
Photoshop files can be used in Avid Media Composer, but there are many special features that
make Adobe Premiere Pro the preferred NLE when it comes to integration and capability. Adobe
Premiere Pro not only allows
you to import video layers
and animations, but also
enables you to customize
how layered Photoshop files
are imported—as separate
layers, separate layers in a
sequence, or as a merged flat
image. Adobe Premiere Pro
maintains Photoshop
blending modes, layer styles
and adjustment layers,
preserving the original look
and feel of design work done
in Photoshop. And you can
launch the creation of a new You can control how Photoshop files look when imported into Adobe Premiere Pro.
Preview all layers, choose which layers to import, and then choose how to import the
Photoshop file from directly layers—as individual layers, merged, or as a sequence.
within Adobe Premiere Pro.
Photoshop integration in After Effects allows you to save 32-bit HDR and 16-bit color values in
Photoshop files. Text you created in Photoshop remains editable in After Effects, and layers, layer
effects, blending modes, masks, transparency, and color profiles are all preserved when imported
as compositions. After Effects also will import PSD files with 3D layers and you can vastly expand
your possibilities for adding texture and shading to even the most basic layer by animating style
characteristics in After Effects. When using the Vanishing Point feature in Photoshop Extended,
After Effects will import that data and automatically create a composition and position the layers in
3D space. To create a new Photoshop file from within your After Effects project, Photoshop
automatically opens a blank file using composition settings — including title-safe and action-safe
guides — that’s ready for editing. Changes appear in After Effects when you save the file.
lllustrator integration
When opening Illustrator files in Adobe Premiere Pro, the image will scale and continuously
rasterize retaining pristine image quality. Copy vectors from Illustrator to use as After Effects masks
or motion paths. Illustrator layers and blend modes are preserved, and vector shapes can be
continuously rasterized (and output as compact SWF files), preserving smooth edge detail.
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
Flash Catalyst and Flash Professional integration
When your goal is to output content to Flash, Adobe CS5 Production Premium gives you two
options to choose from: the new quick and efficient Flash Catalyst or the powerful and
sophisticated Flash Professional.
Flash Catalyst, a new interaction design tool, makes it easy to create online video portfolios that
you can post online using the expressiveness of the Flash platform. Output FLV/F4V videos created
and place in Flash Catalyst to create interactive web video portfolios, or other types of online
content, using standard video playback controls or design your own custom controls using
Photoshop or Illustrator. Publish finished projects for distribution as Flash SWF files.
Flash Catalyst makes it easy to
integrate video into a Flash project and
to assign interactions, which can be
enhanced later by Flash developers.
In Flash Professional, take your video content and deliver high‐quality experiences to screens of all
sizes. Adobe Premiere Pro allows you to create FLV/F4V cue points with name/value pairs by using
markers directly in the Adobe Premiere Pro timeline. Cue points flow directly into Adobe Media
Encoder, which offers a comprehensive interface for creating, checking, and adjusting cue point
information. These cue points can then be used for further interactive design in Adobe Flash
When working in After Effects, be more efficient when you create and edit animations. Preserve
vectors from After Effects animations for lean and clean delivery to Flash Professional, or import
SWF files to After Effects as vectors with alpha channels preserved. From After Effects, batch render
FLV files with embedded cue points, or export comps for further enhancement in Flash
Open audio-editing workflows
Expand your Adobe Premiere Pro
audio-editing workflow with the
ability to export audio as an Open
Media Framework (OMF) file, which
can be imported into Digidesign Pro
Tools audio workstations. Leveraging the tight integration between
Adobe Premiere Pro and Soundbooth, use Pro Tools for your more
complex audio needs and bring the
final music mix back into Adobe
Premiere Pro. Then, utilize Soundbooth to clean up and enhance
dialogue tracks, and quickly add
sound effects and atmospheric
audio cues to your projects.
Soundbooth integration
Use Soundbooth to create and polish audio, customize music, or add sound effects to your
productions. To clean up or enhance audio, use the Edit In Soundbooth command from within
Adobe Premiere Pro, After Effects or Adobe Flash Professional to send assets directly to
Soundbooth. This powerful tool allows you to heal audio in the same way you can use the Healing
brush to heal images in Photoshop. And Soundbooth has an impressive toolbox of audio
processing, effects and cleaning tools, including a feature that delivers automatic equalization and
volume matching of clips with very different levels. After your edits are complete, the files easily
update in the Timeline or Project panel of Adobe Premiere Pro, After Effects or Adobe Flash
Adobe Bridge Integration
Adobe Bridge is a powerful asset management tool that allows you to play or display almost any
type of media; perform sorts, sifts, and finds across all of the media on your drives; and add
metadata to files. With direct access from Adobe Premiere Pro and After Effects, Adobe Bridge
Adobe Premiere Pro CS5 Workflow Guide for Avid Editors
allows you to view files and access important source file information—including frame rate and
aspect ratio—before importing them. This means files are imported correctly the first time.
Adobe Media Encoder Integration
Similar to Sorenson Squeeze, which is bundled with Avid Media Composer, Adobe Media Encoder
is a separate, 64-bit software application that saves you time by automating the process of creating
multiple encoded versions of your
source files and Adobe Premiere Pro
sequences. Adobe Media Encoder
features an intuitive user interface
that provides visual feedback on
your encoding process. Set up
multiple items for batch encoding,
manage priorities, and control
advanced settings for each item
individually. Batch encoding in the
background lets you use any
combination of sequences and clips
as sources and encode to a wide
variety of video formats, including
FLV, F4V, Windows Media,
QuickTime, and other popular
Adobe Media Encoder displays the video asset being transcoded. Notice that
codecs such as MPEG-2, MPEG-4,
in this encoding batch, two source files are being output in a variety of
H.264, AVC-Intra, and DPX.
formats and resolutions for archival, web, broadcast, and mobile delivery.
Adobe Device Central Integration
Adobe Device Central CS5 software, a visual testing tool that works with content from most
Creative Suite 5 components, makes developing mobile designs easier and faster. Develop content
with your favorite Adobe creative tool, and then use Device Central to preview and test it on an
extensive selection of devices under a variety of simulated real-life conditions. This lets you make
intelligent design decisions without a time-consuming trial and error process.
Adobe Premiere Pro CS5 is a powerful NLE with unique benefits that make it the perfect choice for
a wide range of projects. From its incredible speed and efficient editing to its tight integration with
the other components in Adobe Creative Suite 5 Production Premium, Adobe Premiere Pro offers a
wide range of features that make it a compelling element in a complete video workflow from
preproduction through final output.
For more information
Product details:
Adobe Systems Incorporated
345 Park Avenue
San Jose, CA 95110-2704
Adobe, the Adobe logo, Adobe Acrobat, Adobe OnLocation, Adobe Premiere, After Effects, Creative Suite, Encore, Flash, Flash Catalyst, Illustrator,
InDesign, Soundbooth, and Ultra are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other
countries. Avid and Media Composer are trademarks of Avid Technology, Inc., registered in the U.S. and other countries. Apple, Mac, Final Cut and
Mac OS are trademarks of Apple, Inc., registered in the U.S. and other countries. Intel, Intel Core, and Pentium are trademarks of Intel Corporation in
the U.S. and other countries. Microsoft, Windows, and Windows Vista are either trademarks or registered trademarks of Microsoft Corporation in the
United States and/or other countries. NVIDIA and CUDA are registered trademarks or trademarks of NVIDIA Corporation in the United States and/or
other countries. All other trademarks are the property of their respective owners.
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