Click on any phrase to play the video from that point.
[♪♪] [ADOBE TV Presents Colin Smith in...] [♪♪] [NO STUPID QUESTIONS] Once again I'm back here in Adobe TV Studios, and once again I'm sitting behind the power of an HP Z800. This workstation allows you to have real-time playback not only when you've got GPU acceleration but when you've got CPU acceleration. It's really important to have a balance of both, because not everything is accelerated by GPU. We're going to need fast drives. And you know what? You can put drives in and out of the Z800 without any tools. Just open it up, stick in a drive, and you're ready to go. Internal RAIDs, lots of power, a really robust power supply. It's the kind that I use at home, and I love to be here to demo it. I love when I'm away from home and I got my power with my Z800. What I want you to look at today is something new in Premiere Pro 5.5, and that's the ability to improve the speed of nested sequences. Let's go have a look inside here. This is Premiere Pro 5.5, and in this timeline I've got some clips down here in my timeline. And I've got these set up and I want to go and add some color correction to this. So on the left-hand side I'm going to just type three and drop in my Three-Way Color Corrector into here. I want you to notice that when I do that I get a red line, and the red line doesn't mean that I can't play this; it's telling me it might have problems but it probably will play it. Well, I happen to know there's no problem playing this back. If I just rewind and play this, I'll play it back. Sometimes I've got to turn on Mercury Playback acceleration, and I want to show you 2 different levels of turning on Mercury Playback acceleration. In my Project Settings, General, Mercury Playback Engine Software Only-- so it's really important to understand that it can occur in software only, so even without a specific GPU card you're going to get Mercury Playback acceleration. But we can turn this up by choosing GPU, click OK, and you'll see the red line is gone. If you've seen earlier demonstrations of Premiere Pro 5.0, you'll know that that's the way that the Mercury Playback Engine works. And not everything, by the way, is accelerated by the GPU, so that's why I said we need that nice balance. But now I want to show you how we can nest sequences into sequences and continue to add effects on top of that, and we'll still gain that performance. So let's go back down here. I'll select all of these clips in my timeline, right click, and choose Nest. And when I do this, you'll see that this particular timeline will change. That's the one that I was looking at. And a new one over here, Nested Sequence 23-- you can tell that I've been doing this demo a little bit today-- that's the 23rd nested sequence that I've created. When I double click that sequence, that's what looks like the original sequence. So it really is a great convenience instead of having to go out to the bin, grab the current one, drag it on, and make a new sequence. When you say Nest, it just does that. If you're an After Effects user, you can think of this as precomposing, right? It's pretty much the same thing. So let's go back to my nested sequence, which is this one, and now I'm going to drop the Three-Way Color Corrector, or I could really be dropping anything. I could be doing time remapping, which would really be CPU intensive. But we'd have that power. So let me drop this Three-Way Color Corrector on here. And again you see I get the yellow line, and at this point I can just hit Play and it's going to play back, even with all of that. So if I do live Three-Way Color Correction, I've got the kind of power inside here that I'm not going to have to worry about, and I'll just be able to work in real time. So remember, it's a really good thing to have a balance between GPU and CPU, and of course fast disk drives and a ton of RAM. You can stick 192 gigabytes of RAM inside an HP Z800. So run down to your store and grab some extra RAM and let's start editing in real time. [Presenter/Music - Colin Smith] [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director/VFX - Kush Amerasinghe] [Post-Production/DP - Erik Espera] [♪♪] [ADOBE TV Productions]
