Selected as Default from the Transitions palette menu. For more information on default transitions, see Specifying and adding a default transition on page 246.
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Previewing a clip or a video program
Premiere provides a number of playback and preview options to choose from, depending on what you want to view and at what quality. Using different options, you can play or preview individual clips or the entire contents of the Timeline.
Play a single clip To play back a single clip, do any of the following:
Select a clip in the Project window and click the Play button (
) under the thumbnail viewer that ) in the Clip window controller.
appears at the top of the window.
Double-click a clip in the Project window and click the Play button (
Drag a clip from the Project window to the Source view of the Monitor window, and then click the Play

button (

) in the controller under the Source view.
Play the video program Play back the contents of the Timeline in the Program view of the Monitor
window. If you are using the DV editing mode, or if your analog capture card supports it, you can play your program on your DV device or connected television monitor. For more information, see Previewing on another monitor on page 232. You can play your video program using any of the following techniques:
To play back the program without effects, click
the Play button ( ) under the Program view, or select the Timeline and press the spacebar. To stop the playback, click the Stop button ( ) in the Program view or press the spacebar again.
Drag the yellow work area bar over the area you want to preview.
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To play back the program with effects, drag the yellow work area bar over the portion of the program
you want to preview, and then press Enter (Windows) or Return (Mac OS). If prompted, name and save the project. Premiere builds (renders) a preview le of the selected area, and then plays it in the Program view.
To render-scrub (manually scrub through the program viewing effects), press Alt (Windows) or Option
(Mac OS) as you drag the edit line in the Timelines time ruler.
To manually scrub through the program without viewing any effects, drag the edit line in the Timelines
time ruler or drag the shuttle slider under the Program view.
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To create a Web or chapter marker, set a Timeline marker and then either double-click it or choose Timeline > Edit Timeline Marker to open the Marker dialog box. Within this dialog box, do any of the following:
In the Comments eld, type text that you want to appear in your video program, in the Monitor window preview. Comments are visible only when your project is set to QuickTime editing mode. They are not exported with the project. In the Duration eld, type the amount of time you want the comment to appear. In the Marker Options section, type a chapter number, such as Chapter 1, to create a jump from the project to the specied chapter in a QuickTime movie.
In the Web Links section, type a URL, such as http://www.adobe.com/premiere, to initiate a jump to the specied URL in your Web browser. To target a specic frame on the Web site, type an HTML target name in the Frame Target eld.
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Enhanced professional tools
Enhanced Monitor and Timeline windows
The enhanced Monitor window provides more efcient editing control with three-point, four-point, and sixpoint editing (L-cut) capabilities when using a combination of the Source and Program views. The streamlined Timeline window offers precise editing capabilities for piecing together video projects. In this window you can directly adjust opacity, add transitions or effects, and modify keyframes.
Monitor window The Monitor window retains all of its power but is much more intuitive in Premiere 6.0. For more information, see Using the Monitor window on page 163.
Some of the enhancements to this window include:
Clearly dened Source and Program View windows, with separate controllers. Buttons at the top for toggling between Dual View, Single View, and Trim Mode. Customizable Title-Safe and Action-Safe margins for both the Source and Program view windows.
A. View buttons B. Safe Zones C. Source View controllers D. Program View controllers
Marker buttons for both the Source and Program View windows. You no longer need to go to the Clip menu to set a marker! Enhanced Trim mode window that includes Set Focus buttons, which let you focus on the Clip Out, the Clip In, or both; new shuttle controls to help you set Out points for the Clip Out and In points for the Clip In; Target menus in which to choose the tracks you want to trim; and new Out Shift and In Shift menus showing the number of frames that have changed between the original In or Out points and the newly marked In and Out points.

General settings

Choose Project > Project Settings > General, to specify the following options:
Editing Mode Determines which video method is used to play video back from the
Timeline and which compression methods are listed in the Video Settings panel. The QuickTime editing mode is installed with Premiere. In Windows, the Video for Windows and DV Playback editing modes are also installed. Manufacturers of video-capture cards or other video hardware may provide plug-in software that adds editing modes for maximum quality and compatibility with their hardware. Note: The Editing Mode does not necessarily specify the export format. For more information, see Exporting a video on page 346.
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Advanced Settings This button may be available if you have installed an editing mode
plug-in provided by another manufacturer. For information on settings for your plug-in editing mode, see the documentation provided by the plug-ins manufacturer.
Timebase Species the time divisions Premiere uses to calculate the time position of each
edit. In general, choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, 29.97 for editing NTSC (North American standard) video, or 30 for other video types. Do not confuse timebase with the frame rate of the video you play back or export from the Timeline, although timebase and frame rate often use the same value.
Playback Settings This button is available when you use a DV preset or choose the DV
editing mode (Windows) or QuickTime editing mode (Mac OS), or if you have installed a plug-in that provides additional playback functions. When you use the DV (Windows) or QuickTime (Mac OS) editing mode, use this option to indicate where you want your previews to play back: on your DV camcorder or other connected device, or on your desktop. For information on the playback settings available for third-party plug-ins, see the documentation provided by the manufacturer of the plug-in.
Time Display Species the way time is displayed throughout the project. The time display options correspond to standards for editing video and motion-picture lm. For broadcast NTSC video, choose 30 fps Drop-Frame Timecode if that was the time display used by the original video. For video to be played back from the Web or CD-ROM, choose 30 fps Non Drop-Frame Timecode. For PAL and SECAM video, choose 25 fps Timecode. For motionpicture lm, choose Feet + Frames 16mm or Feet + Frames 35mm. To count individual frames and audio samples instead of timecode, choose Frames/Samples. Current Settings Displays a summary of the settings you specied in all Project Settings

Create Audio Preview Files If There Are _ or More Species when Premiere creates an audio preview instead of real-time playback, based on how many audio tracks are active and how many audio effects are applied in those tracks. The number of audio tracks active and effects applied directly affects the load on your system resources. When your system resources are exceeded by audio processing demands, you will hear pops and clicks while playing back audio in Premiere. If you encounter this problem, decrease the settings for these parameters so that Premiere creates audio preview les instead of trying to process more than it can handle.
Keyframe and rendering options
Choose Project > Project Settings > Keyframe and Rendering to specify the following options:
Ignore Audio Effects Select to render audio without applied audio effects. Ignore Video Effects Select to render video without applied video effects. Ignore Audio Rubber Bands Select to render audio excluding changes made to the Timelines rubberband controls for audio fading and audio panning. Optimize Stills Select to use still images efciently when rendering video. For example, if
a still image has a duration of 2 seconds in a project set to 30 frames per second, Premiere will create one 2-second frame instead of 60 frames at 1/30 of a second. Deselect this option if the exported video le exhibits playback problems when displaying the still images. This option is determined by your preset. Some capture cards do not support optimized stillsif you are using a preset provided by your capture card, do not adjust this setting.
Frames Only at Markers Select when you want to render only the frames at which you have added a marker in the Timeline. This option does not affect compression keyframes. Preview Choose To Screen when you want to preview edits, transitions, and effects but dont care if the preview is at nal playback speed. When To Screen is selected, Premiere renders directly to the screen as quickly as possible. Playback speed depends on image size and resolution, the number and complexity of effects and transitions, and the processing speed of your system. This option is not recommended for previewing areas that include many effects. Choose From Disk when you want to preview edits, transitions, and effects at the nal playback speed. With this option selected, Premiere renders the preview to the hard disk. Choose From RAM when you want to preview edits, transitions, and effects quickly, without having to rst render a preview le. When From RAM is selected,

Note: Adding handles after trimming a project a second time will offset your In and Out points.

5 Click Create Project.

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6 When asked, specify the location and name of the new project based on the trimmed clips; make sure its a different folder than the original location. Click Save. 7 Close the original project. Choose File > Open, locate the trimmed version, and click OK. 8 Examine the trimmed version of the project. If its satisfactory, you can delete the original project and its source clips or move them to an archive disk.
Using a Premiere project on another platform
Premiere project les are designed to be usable across computer platforms. You can open and work with a Premiere project on any other platform on which Premiere 6.0 is available. Transferring a Premiere project to another platform is similar to moving a Premiere project to another computer: You must move not only the project le, but all of the source clips used in the project. In addition, follow these guidelines:
All of the source les must be in a format supported by the destination platform. For
example, if you plan to transfer a project to Mac OS for editing, dont use Windows PCX les. For more information about lename extensions and platform support for various le formats, see Importing clips on page 151.
All les must conform to the destination platforms lename conventions. For best results, use the 8.3 lename convention (eight characters and a three-character lename extension). For example, a Premiere project uses the extension.PPJ. For best results, make sure that source clips are saved using cross-platform codecs such as Motion JPEG A or Motion JPEG B, provided by QuickTime. Any fonts used in titles must be available on the destination platform. When you open the project on the other platform, youll be asked to locate each source clip (see Opening a project on page 85). You might want to remove unused clips (see Naming, nding, and deleting items on page 97) or run the Project Trimmer (see Removing unused frames from source clips on page 86) so that you dont have to transfer any more clips than necessary.
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Many Premiere settings les can be transferred across platforms, including batch capture lists (Windows lename extension:.PBL), batch processing lists (.HBP), edit decision lists (.EDL), exported le lists (.TXT), lmstrip les (.FLM), motion settings (.PMT), project les (.PPJ), project settings (.PRS), storyboards (.PSQ), and titles (.PTL). Command sets (.PFN) and transition sets (.PFX) files cannot be transferred across platforms. If you have trouble opening a project le from another platform by double-clicking, try using the File > Open command from within Premiere.
Setting up Premieres scratch disks

To change the startup window:
1 Choose Edit > Preferences > General and Still Image. 2 Choose an option from the Window at Startup menu and click OK: None starts Premiere with the palettes from the previous session. New Project opens the New Project dialog box when you start Premiere. Open Dialog opens the Open dialog box when you start Premiere. Load Settings opens the Load Project Settings dialog box when you start Premiere.

Working with palettes

Adobe Premiere includes several palettes that display information and let you modify clips. You can display, hide, or recombine palettes as you work.
Changing the palette display
You can change the arrangement and display of palettes and palette groups to make the best use of space on your monitor.
To show and hide palettes:
To show or hide a palette, choose the name of the palette from the Window menu. To hide or display all open palettes, press the Tab key.
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To move a palette to another group:
Drag a palette tab to that group.
Drag a palette to another group (left). Palettes are combined (right). To separate a palette:
Drag a palette tab to another location.
To dock a palette to another palette group:
Drag a palette tab to the bottom of another palette until the bottom of the destination palette is highlighted, and then release the mouse.
To separate a palette from other palettes to which it is grouped or docked:
Drag a palette tab away from the other palettes. If you have more than one monitor connected to your system and your operating system supports a multiple-monitor desktop, you can drag palettes to any monitor.

Using the Info palette

The Info palette displays information about a selected clip or transition. If you drag a clip in the Timeline, you can watch the starting and ending time change in the Info palette. The information displayed in the palette may vary depending on factors such as the media type and the current window. For instance, an empty space in the Timeline, a rectangle in the Title window, and a clip in the Project window display information unique to each item when selected.
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Using the Navigator palette
Use the Navigator palette to quickly change your view of the Timeline by dragging a view box within a miniature representation of the Timeline. You can also change the level of detail displayed in the Timeline.
A. Timecode B. Zoom Out button C. Zoom slider D. Zoom In button E. Current View box F. Edit Line G. current work area To change the view of time using the Navigator palette:

Settings vary depending on the selected capture format. Capture Settings for Video for Windows capture are shown. Available capture formats vary depending on the type of video-capture card installed. To prepare for capturing analog video:
1 Specify the scratch disk for captured movies. See Setting up Premieres scratch disks on page 88.
Note: The length of a captured clip may be limited by the le-size limits of your operating system. For more information, see File-size limitations on page 116.
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2 Set up the video source. For QuickTime for Mac OS, choose Project > Project Settings > Capture, click Video, choose Source, and choose a video source from the Digitizer menu. For an editing mode provided with a video-capture card, see the documentation included with the video-capture card. 3 Carefully check other settings in the Capture panel (summarized below). As noted in the following list, some capture settings are specic to a particular capture format.
Capture Format Select the le format for your video program. Changing the Capture
Format changes the options available in the Capture Settings dialog box as well as in the dialog boxes that appear when you click the Video, Audio, and Advanced buttons.
Capture Video Select to enable video capture. Size (QuickTime) Type the width and height of the digitized frame in pixels, and select
Constrain to restrict the aspect ratio to 4:3. For Video for Windows capture, click Video to specify frame size.
Rate (Video for Windows) If available, choose a frame rate for digitizing video. For
NTSC, choose 29.97 fps; for PAL and SECAM, choose 25 fps.
Video, Audio, Advanced, VFW Settings If available, click to set options provided by
software that came with your video-capture hardware, usually including compression settings. Understanding these card-specic options is critical for successful capturing; see the documentation for your capture hardware.
Capture Audio Select to enable audio capture. For QuickTime capture, or if these options
are not available, click Audio to specify audio settings. For Video for Windows capture, specify settings for Rate (the sample rate for digitizing audio used by your capture device), Format (the bit depth of digitized audio used by your capture device), and Type (the compression method for digitized audio). If you chose an Editing Mode other than QuickTime or Video for Windows, and Capture Audio settings are not available, they may be set by the software that came with your audio-capture hardware; click Audio or Advanced to specify audio settings. See Capturing analog audio on page 144 and the documentation for your capture hardware.

You can also specify a target track by clicking the name of a track in the Timeline (it then displays in boldface). Clicking a boldface name (the current target track) is the same as choosing None from a target track menuthe track is no longer the target, and its name is no longer in boldface.
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Locking and unlocking tracks
Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the program. A locked track is included when you preview or export the program. If you lock the target track, it is no longer the target, so source clips cannot be added to it until you unlock it and then target it. A locked track is marked by a lock icon next to the track name. If you position the pointer or a tool over a locked track, the pointer appears with a lock icon ( ) to remind you that the track is locked. Locked tracks are dimmed in the Target menus below the Program view. If you want to lock both a video track and a track with corresponding audio, lock each track separately. You can also lock a clip. This is useful when you dont want to lock an entire track. See Locking and unlocking clips on page 196.
To lock or unlock a track:
Click to display or hide the lock icon ( ) next to the track name.
Editing In and Out points
Most clips are captured with extra footage at the beginning and end to allow for more precise editing later. Its common to ne-tune the beginning and end of a clip just before moving a clip into the program. Dene the beginning of the clip by marking an In point (the rst frame that will appear in the video program), and dene the ending by marking an Out point (the last frame that will appear in the video program).
Marking and nding In and Out points
For numerical precision, set In and Out points using the Monitor Source or Program view. For visual precision, or if you prefer to use the mouse, edit directly in the Timeline using the edge trim tool. This interactive tool is useful for a rough cut, but it can also be as precise as specifying In and Out points numerically if you set the Timeline to display individual frames in the Time Ruler (see Moving around in the Timeline on page 176). The pointer automatically changes to the edge trim tool when you move the selection tool near the edge of a clip in the Timeline.

For information about editing clips in the program, see Editing a clip that exists between other Timeline clips on page 208. Note: By default, the Insert and Overlay buttons add a clip to the Timeline at the edit line. You can override this and specify the intended location of your clip by setting a program In point, a program Out point, or both. See Replacing program frames using a three- or four-point edit on page 204.
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Adding multiple clips using an automated process
To quickly assemble a rough cut of a project or add a sequence to an existing project, add multiple clips from a Project window bin to the Timeline using the Automate to Timeline command. Premiere uses an insert edit to add the clips. In A/B Editing mode, Premiere alternates the video clips between the Video 1A and Video 1B tracks and the audio clips between the Audio 1 and Audio 2 tracks. In Single-Track Editing mode, Premiere places all the video clips side by side on the Video 1 track and alternates the audio clips between Audio 1 and Audio 2 tracks. Premiere can also automatically add transitions. The Automate to Timeline command adds only the clips within the bin you are adding; it does not add other bins or the clips they contain that are within the bin you are adding. In addition to using the Automate to Timeline command with a bin in the Project window, you can use it with the Storyboard window, which lets you organize clips by dragging them in the window. See Creating a storyboard on page 203. Choosing Automate to Timeline displays the Automate to Timeline dialog box, which provides the following options:
Contents Species what part of the bin gets added to the Timeline. If you choose Whole
Bin, all clips in the bin are added, regardless of whether you have selected clips. If you choose Selected Clips, only those clips you have selected are added.
Ordering Species the method used to determine the order of the clips when they are
added to the Timeline. If you choose Sort Order, Premiere uses the sort order set in the list view of the Project window, regardless of which view is currently selected. (If you are working in the Storyboard window, Sort Order uses the order in which the clips appear in the window, from left to right and from top to bottom.) If you choose Selection Order, clips are added according to the order in which you selected them in the Project window. Note: When the Project window is in Icon view, you can select clips by dragging a selection marquee around them. If you use this method to select clips and Ordering is set to Selection Order, Premiere will add the clips using the order in which they appear in the Project window.

Using color, transparency, and gradients
You can apply color, transparency, gradient color, and gradient transparency to type, graphic objects, or shadows. You can also use the eyedropper tool to match a color that already exists in the Title window, even if it is in a background frame you imported.

To apply a solid color:

1 Do one of the following: Use the selection tool ( ) to select a text or graphic object to affect the entire object. Use the type tool ( ) to select individual characters in a text object to affect just those characters. 2 If necessary, click the Object Color swatch or the Shadow Color swatch to bring it to the front, and then click it again to open the color picker.
Object Color swatch (A) and Shadow Color swatch (B)
3 Specify a color (see Using the color picker on page 290), and click OK.
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To match a color that exists in the title window:
1 With the selection tool, select a text or graphic object to which you will apply the color. 2 Select the eyedropper tool (
3 Click the eyedropper tool on the color you want to apply.
To match a color and apply it to individual text characters:
1 Click in an area without objects to make sure that nothing is selected. 2 Select the eyedropper tool. 3 Click the eyedropper tool on the color you want to apply. 4 Click the Object Color swatch. 5 Write down the values for Red, Green, and Blue, and click Cancel. 6 Select the type tool and drag to select one or more text characters. 7 Click the Object Color or Shadow Color swatch, and for Red, Green, and Blue, type the
values you wrote down. Then click OK.
To swap the object and shadow colors:
Click the curved double arrow ( ).

To apply a gradient:

1 Do one of the following: Use the selection tool to select a text or graphic object (to affect the entire object). Use the type tool to select individual characters in a text object (to affect just those characters). 2 If necessary, click the Object Color swatch or the Shadow Color swatch to bring it to the front. The swatch that is in front receives the gradient effect.
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3 Click the Beginning Color swatch, specify a color (see Using the color picker on page 290), and click OK.

3 Click OK.

Arranging text and graphic objects
By default, text and graphic objects appear in the window in the order in which they were drawn, from bottom layer to top layer. The Title window includes options for arranging text and graphic objects.
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To arrange the stacking order of text and graphic objects:
1 With the selection tool ( ), select a text or graphic object. 2 Do one of the following: Choose Title > Bring to Front. Choose Title > Send to Back. 3 Repeat with other objects as necessary until type and objects are stacked the way you want.
To center type or objects in the drawing area:
1 With the selection tool ( ), select a text or graphic object. 2 Do any combination of the following as necessary to achieve the centering you want: Choose Title > Center Horizontally. Choose Title > Center Vertically. Choose Title > Position in Lower Third.
Adding a title to a project
When youve completed and saved a title, Premiere automatically adds it to the open Project window. The title becomes a clip in the project, using the original title le as its source. If you imported a frame from a clip or a still image to use as a sample (see Importing a sample frame on page 275), it will not be part of the title when you add the title to a project. If you want to add a title that isnt currently open, import it the same way you would any other clip; see Importing clips on page 151. If you want the title to display with transparency so you can superimpose it over another clip, add the title to a superimposition track. When you add a title to a superimposition track, empty and semitransparent areas of the title are converted into an alpha channel, which marks transparent and semitransparent areas. Premiere automatically applies the Alpha Channel transparency key to titles, making any mattes or clips on lower tracks visible under the title. Titles added to the Video 1A or 1B tracks appear opaque by default.
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To add a title to a project:
1 Save the title. The title automatically appears in the open Project window.
Note: If a project is not open when you create the title, save the title, open a project, and then drag the title directly from the Title window to the Timeline or Project window.

Add Keyframes at Edits Select to create a keyframe at the beginning of each clip in the
Timeline. Note: Some codecs do not provide control over keyframes. In such codecs, the above options will not be available.
Special Processing export settings
When you choose Special Processing from the menu at the top of the Export Movie Settings dialog box, you can click Modify and specify the following options as necessary:
Left, Right, Top, and Bottom Type margin dimensions in pixels or drag the handles on the
cropping rectangle to crop the exported video. The Size readout indicates the pixel dimensions of the frame after cropping. If you specied Cinepak compression, make sure that the nal dimensions are divisible by 4, because Cinepak works most efciently with 4x4 pixel cells.
Scale to (frame size) Select if you cropped the video and want to enlarge the cropped frame to match the Frame Size you specied in the Video Settings panel. Deselect this option if you want the video to be exported at the cropped size. Slider under the Preview Drag to preview how the current Special Processing options

affect other frames.

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Noise Reduction Select to increase compression efciency by reducing variations in pixel
values. From the Noise Reduction menu, select Blur for a subtle blur, Gaussian for a stronger blur, or Median for a blur that attempts to preserve sharpness at edges. This option does not apply noise reduction to audio.
Better Resize Select if you specied cropping or scaling in this dialog box and want
Premiere to use its own high-quality resizing method. Deselect to let the codec you selected perform resizing; many codecs resize faster but at the expense of picture quality.
Deinterlace Select to remove the secondary eld from interlaced video and interpolate the lines of the dominant eld. Deselect this option to deinterlace using the methods built into Video for Windows or QuickTime, which are not as effective as the method Premiere uses. Gamma Select to specify a value by dragging the slider. Gamma adjusts midtones while

Trim view 220 options 222 ripple edit 221 rolling edit 221 trimming edge trim tool 181 pixels from edges of clips 332 ripple edit 28 rolling edit 29 unused frames 86 using Trim view 220 See also editing 86 Twirl effect 332 Twirl effect. See online Help Type option for audio codec 359 type tool 279 type. See titles U undo 89 using History palette 70 Unlink Audio and Video command 219 usage, video and audio 97 using in D1 or DV project 150 V vertical convolution 195 Vertical Flip effect 332 Vertical Flip effect. See online Help
Vertical Hold effect 332 Vertical Hold effect. See online Help video capturing from batch list 136 effects, descriptions of each. See online Help effects, obsolete 332 exporting 337, 347 fading 296 interlaced 194 linking with audio 219 noninterlaced 194 progressive downloadable 344 recording final 339 streaming 343 suppressing effects 80 Video button, capture setting 119 Video for Windows 75 Video Settings defined 74 specifying for previews 76 video-capture cards 117 videotape data rate for 354 device control and 341 recording to 235, 338, 339 virtual clips 223 locating original frames 226 visual timecode 143
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394 INDEX

volume adjusting 257 See also fading, audio Volume Fader 35, 59 volume fader 257 volume rubberband 257 volumes, defined 88 VU meter 59 W WAV (Windows Audio Waveform) file format 151, 338 Wave effect 332 Wave effect. See online Help Web export 47, 53 Web link 185, 188 markers 54 Web site for Adobe 4 White Alpha Matte key 303 Wind effect 332
Wind effect. See online Help window dub timecode, setting manually for a clip 143 window menus displaying 14 using 91 Windows Audio Waveform. See WAV file format Windows Bitmap file format. See BMP file format Windows Media 338 Windows Media Export 47, 53, 54 windows, Premiere 100, 170, 171 WindowsMedia 343 wipe codes 364 work area 12, 225, 229, 347 workflow 109 workspace 8 A/B Editing 8, 9, 67, 73, 169 Audio 8, 68, 170 Z
choosing 169 defined 67 Effects 8, 68, 170 managing 170 selecting initial 73 Single-Track Editing 8, 16, 67, 73, 169 World Wide Web 343, 354
Zig Zag effect 332 ZigZag effect. See online Help zones. See safe zones zoom tool 177 Zoom transition 249 zooming 177, 190, 316

Press/Analyst Contact: Cara Broglia Adobe Systems Incorporated 408-536-4665 cbroglia@adobe.com http://www.adobe.com A&R Partners 931-503-8155 nsandin@arpartners.com

For Immediate Release

Adobe Premiere 6.0 Enables Rapid Creation of Streaming Web Video for RealNetworks RealPlayer
Adobe Premiere 6.0 Provides Built-in Support for RealAudio and RealVideo 8
SAN JOSE, Calif., (Dec. 12, 2000) (Nasdaq: ADBE) In conjunction with its announcement of Adobe Premiere 6.0 software at Streaming Media West, Adobe Systems Incorporated today announced advanced support for RealNetworksRealAudio 8 and RealVideo 8 inside of Adobe Premiere 6.0. The Advanced RealMedia Export feature within Adobe Premiere allows users to output their video projects directly to the RealMedia format for Web streaming, download, and playback using RealPlayer.
Adobe Premiere 6.0 users, through the use of RealNetworks SureStream technology, can also customize the export of streaming Web video projects to ensure that their audience has access to the best quality video content regardless of their bandwidth capabilities. This new integration reduces the amount of buffering audiences will experience, despite fluctuations in network conditions during playback.
Increase in consumer demand and lower video creation costs have helped the Web emerge as a distribution medium that allows more video producers to economically distribute their video productions. As Internet bandwidth and the demand for streaming content increase, desktop video editing and distribution will continue to advance to fit the needs of content creators and their audiences.
We are thrilled that Adobe Premiere 6.0, the leading video editing product, now has deep integration with RealMedia, the leading streaming media file format, said Kevin Foreman, general manager, Developer and Partner Relations, RealNetworks, Inc. Video editors will benefit from the time savings and quality improvements that this collaboration enables.
Our partnership with RealNetworks paves the way for video producers to deliver more compelling streaming media experiences online that attract customers and build brand loyalty, said David Trescot, group manager, Dynamic Media, Adobe Systems Incorporated. With broad support from the industrys streaming media leaders, Adobe Premiere 6.0 builds on our larger Network Publishing vision of making content creation, management, and delivery seamless across a range of platforms and information outlets.
For more information on Adobe Premiere 6.0, please visit the corporate Web site at http://www.adobe.com/premiere.

(More)

Page 2 of 2 Adobe Premiere 6.0
About Adobe Systems Incorporated
Founded in 1982, Adobe Systems Incorporated (www.adobe.com) builds award-winning software solutions for Network Publishing, including Web, print, video, wireless and broadband applications. Its graphic design, imaging, dynamic media and authoring tools enable customers to create, manage and deliver visually rich, reliable content. Headquartered in San Jose, Calif., Adobe is the third largest PC software company in the U.S., with annual revenues exceeding $1 billion. ### Editors Note: Additional information on Adobe Premiere 6.0 and all other PR related materials from Adobe Systems can be found online in the Adobe Press Room located at http://www.adobe.com/pressroom.
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