Datasheet

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Adobe Creative Suite 5.5 Production Premium What’s New
To make it easier to output your work to virtually any video and device format, the new Adobe Media Encoder user interface
includes three sections—the Queue pane, the Current Encode pane, and the Watch Folders pane. e batch queue at the top
shows you the status of multiple renders, while the Current Encode pane displays details of the job that’s currently processing.
is updated design makes it easy to monitor multiple background renders at a glance while you continue working in Adobe
Premiere Pro, Aer Eects, and Encore.
Adobe Media Encoder supports a wide range of output formats, including FLV, F4V, Windows
Media, QuickTime, and other popular codecs such as MPEG-2, MPEG-4, H.264, and—new for
Adobe Media Encoder CS5.5—AVC-Intra and DPX.
Automate your workflow further using watch folders, new in Adobe Media Encoder CS5.5. You can
configure watch folders with different encoding settings, so that encoding a clip to multiple
destinations is as easy as dropping it in a preconfigured watch folder.
Expanded native support for RAW digital cinema and file-based workflows
Building on its industry-leading native support of file-based media, CS5.5 Production Premium
expands the flexibility of your workflow when working with RAW digital cinema files and other
file-based footage in Adobe Premiere Pro CS5.5 and After Effects CS5.5.
Now you have new options for adjusting RED source settings right in Adobe Premiere Pro CS5.5
and After Effects CS5.5.
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These settings help make CS5.5 Production Premium an even better
choice for on-site workflows and dailies when working with RED content, because they offer deep
control over crucial color settings. 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 now supported. Adobe Premiere Pro CS5.5 and After Effects CS5.5 offer additional
enhancements to improve your overall RED workflow, including the timesaving ability to apply
source settings to multiple clips. Additionally, when you open the redesigned RED Source Settings
dialog box, it remembers which options you displayed in the previous session.
Adobe Premiere Pro CS5.5 also offers enhanced native support for Canon XF footage. Now you can
view Canon XF files—including spanned clips—in the Adobe Premiere Pro Media Browser, preview
XF footage in the Project panel, view and edit camera metadata in the Metadata panel, and take
advantage of metadata throughout your pre- and post-production workflows. In After Effects, you
can now import CinemaDNG files and export XDCAM-EX footage.
Edit le-based media right away
thanks to native support
Withnativesupportforle-based
media,youcanbegineditingvirtually
anyvideoformat—notranscoding
orrewrapping—includingDV,HDV,
RED,DPX,SonyXDCAM,XDCAM
50,XDCAMEXandXDCAMHD,
PanasonicP2,DVCPROHD,AVCHD,
andAVC-Intra.EditvideofromDSLR
cameras,includingtheCanon5D
MarkIIand7D,NikonD90,D300s,
D3000,andothers.
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AdobePremiereProCS55.0.2includedenhancementsfortheREDRocketcardandColorScience,andintroducedsupportfor
exportinginXDCAM-HDformat.AerEectsCS510.0.1addedsupportforRMDandREDleformats.