Interested parties may download a beta version here.
This allows 4K resolution native R3D files to be dropped straight onto the timeline, without transcoding or rewrapping. “By always working close to the lens, without proxies or other restrictions, editors can adjust the look and feel of their work all the way through the production process, knowing that their changes are completely accurate.”Īccording to the computer software company headquartered in San Jose, California, the first step of this long-term collaboration is the importer plug-in, bringing native support for RED R3D files to Adobe Premiere Pro CS4, Adobe After Effects CS4 and Adobe Encore CS4. “RED and Adobe share the goal of developing a native, raw workflow that keeps filmmakers close to the lens, so that you’re always working with the sensor data the camera captured,” says Adobe. A little more digging has revealed that Adobe Systems Incorporated and RED Digital Cinema Camera Company are collaborating to bring a truly native, color-rich, 4K tapeless workflow to desktop tools, allowing film-making experts to leverage the full potential of high-resolution raw digital cinematography. The changelog for Adobe Premiere Pro 4.0.1 reveals that the company has also added support for Apple Final Cut Pro XML project import, and OMF export, along with numerous other stability and quality improvements.
#ADOBE PREMIERE PRO CS4 REVIEWS UPGRADE#
The upgrade adds more flexible, open workflows, native RED R3D support, faster performance, as well as support for AAF import export.
#ADOBE PREMIERE PRO CS4 REVIEWS UPDATE#
Adobe has released Adobe Premiere Pro CS4 4.0.1, an update to the professional video production solution, Adobe Premiere Pro CS4.
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