The second new feature is support for x64 operating systems like Windows XP x64 and Vista x64, which allows computers with multiple processors and a decent amount of RAM to really work more efficiently. While this speeds up PC workflows nicely, it’s especially helpful for Mac workflows in trying to catch up with the speed that FCP is known for.
Finally, the third new feature is native support for REDCode (the RAW video format used by the new RED cameras), which FCP has had for quite awhile. With the booming product line slated to come out from RED next year, including multiple versions of the Scarlet and Epic cameras, this is a perfect time for Adobe to get into the REDCode game.
As with Onlocation and Encore, for more information on Premiere Pro CS4, check back in our next issue when Eric Henninger will delve deeper into it in his Premiere Pro review.
Soundbooth's new multi-track support and new uncompressed file format (*.ASND) gives you much more control over the audio in your film..
Soundbooth CS4
Soundbooth has also gotten a lot of new improvements in its sophomore release.
One of the biggest improvements is that you can now edit multiple dialogue tracks at once inside of Soundbooth. To make using these multi-track files much easier to handle, Adobe has created an uncompressed, multi-layer audio document called the *.ASND format. This format is to audio what the .PSD format is to visual imagery. Like the .PSD document, Premiere Pro will import the *.ASND document directly and use it as the audio track when you so choose. This can be a great way of creating an uncluttered audio field in your Premiere Pro timeline. (Unfortunately, you can’t select a number of dialogue tracks in Premiere Pro and just import them all en masse into Soundbooth, but you can build a multi-layer track inside of Soundbooth and use it inside Premiere Pro.)
Another great improvement in Soundbooth is the ability to select multiple lines of dialogue and “Match Volume.” This essentially allows you to match different clips to either a control clip or to standard dialogue levels, like –12 or –14 dB. If you want to ignore technical accuracy in favor of perceived accuracy, you can have the program account for “perceived loudness” in matching levels. (Some sounds are perceived as softer or louder than they in fact are, due to the way they reach the human ear.) Additionally, if you want to have a lot dynamic range, you can match the peaks (or the loudest points) of the audio. While I probably wouldn’t anticipate using this last option very often, the other features worked pretty nicely. I was able to tie together three different audio clips from different films I’ve worked on and have them fit together decently well from a volume perspective. (Obviously, the tonal quality and audio quality were quite different, as these clips came from different films along my evolutionary path as a filmmaker.)
Finally, the new snapshot feature that’s been rolled out allows you to make multiple versions of your file in Soundbooth and then save them inside your .ASND document. This allows you to easily switch between multiple versions and mixes of your dialogue after the fact.
For more information on Soundbooth CS4, check in next issue when John Howard will delve deeper into it in his standalone review.
The new Cartoon plugin for After Effects gives you the ability to create your own version of A Scanner Darkly..
After Effects CS4
As I’m sure you’re seeing the trend throughout this review, the most dominant areas of After Effects CS4 are improved workflow areas.
The first big improvement is a nesting navigator that’s been added to After Effects which allows you to easily navigate through multiple precomposed elements in a single timeline. (For all of us who nest timelines incessantly, this is a real timesaver.) A further useful feature in AE CS4 is the ability to search for plugins and filters that have already been applied to your layers. This is an amazingly efficient way to find out where exactly you applied Trapcode’s Starshine or the AE Glow effect when you have dozens of layers of footage, allowing you to quickly adjust it!
