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What's New in Adobe Media Encoder CC - NAB 2014
Show: Adobe at NAB 2014
Join Adobe Media Encoder product manager Patrick Palmer for a sneak peek of the new features coming soon to Adobe Media Encoder. Along with support for a huge range of formats, the new Adobe Media Encoder CC update can create DCPs for playback on Digital Cinema systems, and AS-11 content packages for creating broadcast deliverables. New fault-tolerant rendering auto-heals red and black frame issues without holding up your render queue.
HP Workstations and Red Digital Cinema
Red cameras are a dominate force in digital video today. Digital workflows for video and film productions are streamlining productivity and costs. Ted Schilowitz from RED Digital Cinema talks about the transformation that is happening to the film and video industry. He recommends the HP Z820 Workstation for use with their Red Cameras: RED ONE, EPIC and SCARLET because of its insane amount of RAM, rock solid stability, NVIDIA Graphics, Intel's latest dual Xeon processors, and their RED ROCKET Card.
Moving Your Video Business to Windows
In another user requested video, Colin answer the question that many Mac users are wondering - how hard is it to move to Windows? Colin explores just how easy it is to move your FinalCut Pro 7 projects into Premiere Pro CS6 on Windows. He also invites Terry Brown from HP to join him to see exactly what all the excitement is over HP hardware and why RED Digital Cinema has chosen a Windows platform for massive performance gains.
How To Configure a High-Performance Workstation for Production Premium CS5.5
In the world of video production, time is money. Karl Soule shows you all you need to know to get maximum performance from the applications in Adobe Production Premium CS5.5. Learn all the hardware-related factors that influence how the software behaves, and see how to properly balance a system with Intel Xeon processors, the right amount of RAM, and high-performance Intel solid state drives.
Dude, Where's My Task?
Are you looking for the Tasks that you’re used to in Soundbooth when you start using Adobe Audition 5.5? Colin will show you a step by step walkthrough between to the two applications, pointing out where the same operations are in Audition. He’ll also point out that Audition is much more powerful at all the tasks you’re used to using in Soundbooth, including Noise Reduction, Time Stretching, Automatic Click Remover, DeHummer, Looping and more. The fact that he’s demonstrating all this on his “wicked fast” HP Z800 workstation makes Audition all the more powerful.
Camera Lens Blur in AE CS5.5
This new effect gives you the ability to create the optical effect of a real camera lens blur. If you need to add depth to a scene, or obscure something in the frame, Camera Lens Blur will do that and make it look completely realistic. You also have complete control parameters like iris shape, blur maps, super whites, gain and threshold.
Premiere Pro to Audition
Colin’s back showing off how fantastic his Z800 workstation performs with the new Adobe 5.5 software. In this episode he shows you how to send a complete Premiere Pro sequence to a multitrack project in the new Adobe Audition 5.5. From there he shows how you can add effects to individual clips, or complete tracks with lots of built-in effects or support for VST and AU plug-ins. Once complete, this project can be send back to Premiere Pro CS5.5 or exported to OMF or Final Cut Pro XML.
Nested Mercury Cuda
Premiere Pro CS5.5 improves the speed with which you can render nested sequences. You can literally nest sequences into sequences and you’ll get the benefits of the Mercury Playback Engine using both the CPU and the GPU or Graphics Processing Unit on an Nvidia card with CUDA. Throw the HP Z800 workstation into the mix and you see rendering speeds like you have never seen before.