V4HD

Manufacturer Part Number: 4026

DESCRIPTION
Connect all your gear, from SD camcorders and monitors to today's latest professional HD cameras, video decks, LCD reference monitors and plasmas – all at the same time, with no cable swapping. Choose your input source, then log and capture HD or SD clips directly into Final Cut Pro or Premiere Pro.

In Final Cut Pro, the V4HD supports full-raster 1920x1080 HD capture and playback using Apple's ProRes 422 codec in both standard and HQ modes. The V4HD is the ideal all-in-one video capture solution for any ProRes workflow.

In both Final Cut Pro and Premiere Pro, the V4HD provides hardware-accelerated capture and playback of DVCProHD, DVCPro50 and DVCPro25 video streams, plus 8- and 10-bit uncompressed SD — all with convenient plug-and-play FireWire connectivity and CPU-efficient intra-frame editing.

The V4HD is ideal for a DVCProHD/P2 workflow because you can immediately play back P2 clips (either imported or ingested) with no transcoding necessary. Conversely, you can connect any SD or HD video source such as an HDV camera, legacy video deck or DVD player and then capture it directly as a DVCProHD clip in Final Cut or Premiere. Many cameras now feed their uncompressed SDI or component output directly from the camera's optics and imager, before compression, for the best-possible picture quality during capture with the V4HD. Need to bring SD material into your HD project? The V4HD even provides hardware-accelerated SD-to-HD up conversion for capturing SD sources in DVCProHD format.

As you edit, monitor your timeline on multiple HD and SD displays simultaneously with the V4HD's hardware-accelerated up-conversion, down-conversion and pull-down insertion or removal. Watch a variety of display formats side by side, from the pixel-for-pixel accuracy of a large plasma screen, to the color-corrected balance of an LCD reference monitor, to the real-world look of a consumer display. Use 32 channels of audio I/O to capture, monitor, mix and master multichannel surround sound for your productions at sample rates up to 192 kHz. Employ Sony 9-pin machine control for advanced Batch Capture and Edit to Tape operations. Keep everything frame-accurate using time code, video reference and audio word clock.

The V4HD delivers all this with one simple FireWire 400 or 800 connection — even to a laptop computer. With the V4HD handling video I/O via FireWire, your laptop's expansion slot can be used for high-performance video storage solutions.

From start to finish, the V4HD streamlines your video production workflow, with unified control over all your video gear from your computer desktop.

View Workflow Examples Here - http://www.motu.com/video-products/v4hd/workflow/

Feature Highlights

• HD/SD FireWire video interface for Mac and Windows — provides HD and SD capture and playback for any current-generation FireWire equipped computer
• Plug-and-play connectivity via FireWire 400 or 800 — connects to either a desktop tower or a portable laptop
• Supports Apple Final Cut Pro and Adobe Premiere Pro
• Captures and plays all standard HD and SD formats up to and including 1080p30 (720p, 1080i, 1080p and 1080PsF)
• Full-raster Apple ProRes workflow — supports full-raster capture and playback (1920x1080 and 1280x720) in Apple's ProRes 422 HD codec in both standard and HQ modes. Work with ProRes clips pixel for pixel in full 10-bit 4:2:2 resolution.
• Hardware-accelerated DVCPro capture/playback — provides hardware-accelerated capture and playback of industry standard DVCProHD/P2, DVCPro50 and DVCPro25 video streams to/from Final Cut Pro and Premiere Pro
• Pristine HD quality and efficient editing — ProRes and DVCProHD formats provide 10-bit 4:2:2 broadcast quality color and CPU-efficient, intra-frame native editing
• Captures and plays uncompressed SD — 8-bit or 10-bit NTSC or PAL
• HDMI® monitoring — connect a large-format HD plasma, reference LCD, consumer DLP or other flatscreen for flexible and affordable “pixel for pixel" HD monitoring
• Broadcast quality hardware-based real-time SD-to-HD up-convert — capture SD while working in HD; monitor HD when working in SD
• Broadcast quality hardware-based real-time HD-to-SD down-convert — capture HD while working in SD; monitor SD when working in HD
• Hardware-accelerated 2:3 or 2:3:3:2 pull-down insertion and removal — go between film and NTSC rates in real-time, with no rendering required
• Comprehensive up/down conversion formatting — anamorphic, pillar box, letterbox, 14:9 pillarbox, 14:9 letterbox and full screen
• Simultaneous HD/SD operation — connect multiple HD and SD sources and destinations simultaneously. Switch HD/SD sources on the fly while converting to multiple HD/SD destinations. All outputs are “hot", regardless of source format.
• Two rack space form factor with dedicated connectors — no cable swapping or gangly, inconvenient breakout cables
• Stand-alone operation — converts and distributes selected input source to all supported output formats with SD-to-HD up-convert, HD-to-SD down-convert and pull-down insertion/removal
• Field upgradable firmware via USB
• International auto-switching internal power supply
• Rack-mount or desktop operation — attach the included brackets for rack-mount installation or remove them for convenient, portable desktop operation.

Video I/O
Choose any input as a video source and the signal is distributed to all outputs, both HD and SD simultaneously, via hardware-accelerated up/down conversion. This allows you to work with both HD and SD devices without cable swapping. The HD-SDI and SD-SDI banks supply two mirrored outputs so that you can connect both a deck and a monitor to each bank. Independent banks of HD and SD component are also supplied, along with legacy SD formats (S-Video and Composite).

• 1 x HD-SDI in and out (4:2:2 10-bit) on independent BNC connectors
• 1 x SD-SDI in and out (4:2:2 10-bit) on independent BNC connectors
• 1 x extra HD-SDI output connector
• 1 x extra SD-SDI output connector
• 1 x HDMI® output (4:2:2 10-bit, YCbCr or RGB)
• Support for DVI output with HDMI-to-DVI adapter (sold separately)
• 1 x HD component in and out (10-bit, YPbPr or RGB) on independent BNCs
• 1 x SD component in and out (10-bit, YPbPr or RGB) on independent BNCs
• 1 x composite in and out (10-bit)
• 1 x S-video in and out (10-bit)

Audio I/O
As a state-of-the-art video interface, the V4HD offers unprecedented audio features, including 32 channels of audio capture and playback (four 8-channel banks), 8 channels of analog, 8 channels of AES/EBU and optical digital, and support for 8 channels of SDI and HDMI® embedded audio I/O.

For analog and AES/EBU, the V4HD provides four channels of professional XLR jacks directly on the rear panel. If you need to work with more than four channels, you can connect an industry standard (Tascam format) DB25 to XLR or 1/4-inch breakout cable (sold separately).

Eight channels of optical I/O lets you connect the V4HD to a wide range of audio gear. For example, you can connect a MOTU 8pre interface to the optical input to add 8 microphone inputs to the V4HD for direct multi-channel audio capture on location.

On-board digital mixer
The V4HD is equipped with a complete 32 x 32 on-board digital mixer, allowing you to quickly route any combination of inputs to outputs. This is a bona fide monitor mixer complete with 16 stereo busses, and panning, mute and solo on all input channels. Multiple mix outputs can share inputs, giving you complete flexibility for any audio mixing application. Transfer from any audio format to any other audio format with zero latency.

Embedded audio
The V4HD CueMix audio mixer makes it a snap to embed or de-embed SDI audio — or embed audio in the HDMI output. For example, you can bring in eight channels of XLR analog input and route it to the SDI output bank as you output video to the SD-SDI and HD-SDI outputs as shown in this example. The V4HD has been meticulously engineered to ensure that incoming audio and video remain perfectly in sync, down to the sample.

Audio Feature Highlights

• 32 channels of simultaneous audio input and output (four 8-channel banks: analog, AES/EBU, optical and embedded)
• 8 channels of analog in/out at all standard sample rates from 44.1 to 192kHz
• 4 x XLR analog in/out -- 4-channel direct connection without a breakout cable
• 8 channels of AES/EBU digital in/out at sample rates up to 96kHz
• 8-channel HD-SDI and SD-SDI embedded audio in/out, 24-bit at 44.1 or 48kHz
• 8-channel HDMI embedded audio output, 24-bit at 44.1 or 48kHz
• 8-channel ADAT optical digital audio in/out -- includes a second bank of optical connectors for 8-channel operation at sample rates up to 96kHz
• Front panel headphone jack with dedicated volume control
• CueMix DSP™ built-in monitor mixer -- 32-channel, 16-bus mixer for monitoring live inputs from cameras, mic preamps or other audio sources with no delay. Set up send/return loops to digital mixers and outboard audio processing.
• Multiple CueMix DSP mixes -- create 16 separate stereo monitor mixes (8 stereo at 176.4 or 192kHz) for main outs, headphones, outboard gear send/return loops, etc.
• Audio delay compensation -- both fully automated and programmable controls ensure that audio always remains perfectly in sync with picture
• Audio only mode -- operates as a 24 channel cross-platform audio interface (CoreAudio, Wave and ASIO)
• Stand-alone operation -- mix and monitor with no computer connected

Synchronization and device control
The V4HD provides comprehensive video and audio synchronization features, including time code I/O, video ref with loop through, large front panel time code readout and RS-422 (Sony 9-pin) machine control. Synchronize your V4HD system with reliable performance and fast lock-up times. Perform batch capture and edit/export to tape operations in Final Cut or Premiere with a 9-pin compatible camera or deck connected to the V4HD

• Video reference in / thru — resolve to blackburst, composite or HD Tri-level sync
• Time code in and out — generate and resolve to time code in all formats, including LTC, VITC (SD analog), D-VITC (SD-SDI) and embedded (SD/HD-SDI)
• RS-422 machine control — control the transports of a connected camera or video deck from Final Cut or Premiere via standard 9-pin protocol
• Word clock in, out and thru — continuously resolve to audio word clock from a digital mixer, distribution box or other source at sample rates from 44.1 to 192K
• Direct Digital Synthesis — DSP-driven phase lock engine provides ultra-low jitter

V4HD Video Console Software
The V4HD video console software provides convenient access to all of the V4HD hardware settings. The upper portion of the software provides a graphic representation of the video signal flow through the V4HD, and the lower portion of the window provides various settings accessed via six tabs.

Follow the signal path
The signal path diagram shows the current video source on the left with signal flow going from left to right. The top path represents the HD output of the V4HD; the bottom path represents SD output. Various settings, such as pull-down cadence and up/down-conversion formatting appear as menus directly on the signal path. This gives you intuitive hands-on control over crucial settings in the V4HD.

The V4HD has two modes: playback mode and capture/convert mode. In the example above, The V4HD is in capture/convert mode, so the source menu shows the video inputs on the back panel of the V4HD itself. In this example, the source is a camera sending a 1080p23.976 signal, which the V4HD auto detects and then sends to all HD outputs, FireWire and all SD outputs.

On the SD signal path, you can choose the cadence for the V4HD's hardware-accelerated pull-down insertion (from progressive 24fps to interlaced 29.97fps), as well as the format for the V4HD's hardware-accelerated HD to SD down-conversion. On the HD signal path, you can choose the format of the HD output, as well as the format for the HDMI® output (HDMI or DVI, depending on what you have connected to it). If you had chosen an SD input from the source menu instead, the HD signal path provides a format menu with similar formatting options for the V4HD's SD to HD up-conversion. When the V4HD is in playback mode, the signal path diagram looks very similar, except that the source menu simply reflects the video format being played back from your NLE over FireWire.

All of the features in the console can also be accessed from the front panel.

CueMix Console software
CueMix Console provides an intuitive on-screen graphic mixer that controls the 32 channel, 32 bus digital audio mixer in the V4HD. Faders represent input channels. Choose any output pair from the Output menu and simply bring up the faders for any inputs you wish to mix to that output pair. It's simple!

Embedding and de-embedding SDI and HDMI audio streams
The V4HD CueMix Console makes it easy to embed up to eight channels of SDI and HDMI audio, or de-embed eight channels of SDI audio. In the example below, eight channels of analog input are being embedded in the both the SDI and HDMI output of the V4HD. The embedded audio output consists of four stereo pairs, each with the corresponding analog input pairs assigned to it.

HD and SD monitoring
All of the V4HD video outputs are always "hot", regardless of the current video source (either your host NLE time line or one of the video inputs on the V4HD rear panel). This allows you to connect a wide selection of monitors and view source material in both HD and SD simultaneously.

Below is an example setup for the V4HD showing a variety of possible monitoring solutions. There are three HD monitors and four SD monitors all connected simultaneously to the V4HD outputs. The V4HD provides hardware-accelerated up-conversion and down-conversion, so you can work with any source (HD or SD) and view it in both formats at any time.

• Large format "pixel-for-pixel" monitoring via HDMI® - The 50-inch Pioneer plasma is connected via HDMI. This model is the latest Pioneer PDP-5010FD "Kuro", which provides native full-raster 1920 x 1080 pixel-for-pixel monitoring in a large form factor for client viewing. With its pixel-for-pixel HDMI output, the V4HD allows you to choose from a wide range of affordable, yet larger format plasma or LCD monitoring solutions. Full-raster consumer plasmas have come down in price quite a bit in the last year and half, so there has never been a better time to configure your production suite or edit bay with large format pixel-for-pixel monitoring.
• SDI Reference monitors - The V4HD has two HD-SDI outputs and two SD-SDI outputs. This allows you to connect both an SDI monitor and an SDI deck at the same time, with no cable swapping. In our example configuration, the HD-SDI output is connected to a JVC DT-V24L1DU 24-inch LCD reference monitor. You could also connect the new Sony LMD-2450WHD 24-inch LCD reference monitor, the Panasonic BT-LH2600W 26-inch LCD reference monitor or any current generation high-quality reference monitor for accurate color and pixel-for-pixel precision. Also in our example configuration, the SD-SDI output is connected to a legacy 14-inch Sony BVM broadcast monitor equipped with an SDI input board. If you have legacy monitors that you still use as a reference standard in your facility, you can connect them side by side with current generation plasma or LCD monitoring solutions. In many cases, side by side comparisons can be invaluable in bridging from legacy references standards to new ones.
• SD analog monitoring - In addition to the SDI monitoring discussed above, our example setup demonstrates several analog HD and SD monitoring solutions you could also connect to the V4HD. The V4HD's HD component output is connected to an affordable 24-inch Dell monitor. The V4HD's SD component output is connected to a 20-inch Sony LMD-2020 SD reference LCD for monitoring accurate color in NTSC or PAL. The S-video output is connected to a 26-inch Sharp Aquos LCD, and the composite output is connected to 24-inch N-Vidia consumer LCD. Monitors like these are very affordable, and they can prove invaluable in showing how your footage will ultimately look on the types of TVs that viewers actually own.

Plug-and-play FireWire
The V4HD connects to the computer via FireWire (either 400 or 800), and the FireWire ports on the V4HD are used solely for the purpose of connecting it to the computer. FireWire offers many advantages over PCI and graphics card video I/O solutions.

General advantages of FireWire
FireWire is a cross-platform standard on both Mac and Windows platforms. If you or your facility employ both Final Cut on the Mac and Premiere on Windows, you can freely use the V4HD on both types of systems. You can even move one unit between a Mac and PC: just unplug it from one and plug it in to the other. You don't even need to restart the computers.

FireWire is a true plug-and-play protocol. If your workflow requires that you move your V4HD video capture and monitoring capabilities among two or more computers, you can effortlessly do so. The V4HD stands alone when it comes to the flexibility of FireWire because it supports both FireWire 400 and 800 on both Mac and Windows. No other video capture solution comes close to providing the depth and breadth of the FireWire support offered by the V4HD.

Laptop operation
Are you thinking about doing field capture with a laptop — or editing on the go with a laptop-based system? Thanks to FireWire, the V4HD opens the door to a world of possibilities for laptop systems. All current and late-generation Apple MacBook and MacBook Pro computers are equipped with both FireWire 400 and 800. Most PC laptops are equipped with built-in 4-pin FireWire 400. In both cases, the V4HD gives you plug-and-play broadcast-quality capture and monitoring. With the enormous performance gains seen in laptop technology, these compact computers are now powerful enough to easily capture and play back both HD and uncompressed SD video. You can essentially build a complete capture/edit system that fits in a backpack.

There's another major benefit for using FireWire connectivity to a laptop. Using FireWire for video I/O frees up the PC card slot on your laptop for professional-grade video storage solutions. Expresscard-based storage solutions offer enough storage space and access speed to support the most demanding HD and uncompressed SD workflows. Alternatively, depending on your workflow, you can daisy-chain a FireWire 800 hard drive on the same bus as the V4HD connected to the computer via FireWire 800. This option offers compact, portable yet large-scale storage.

Ingesting video from a camera that has built-in FireWire
Many cameras are equipped with built-in FireWire and connect directly to the computer, allowing you to ingest video directly from the camera. So why would you need the V4HD in this case? Below are several scenarios in which using the V4HD provides significant advantages.

Consolidating your workflow
When you capture output directly from a camera via FireWire, the resulting clips are brought into your NLE in the native format of the camera. For example, if you have an HDV camera, the clips come in as HDV clips. If you are bringing in material shot from two or three different cameras, each with their own capture format, the problem gets even worse because now your clips don't match. The V4HD helps you consolidate your workflow into a single format that you choose. For example, you might decide that you would prefer to work in ProRes in Final Cut. The V4HD speeds your capture process by ingesting any source directly to ProRes format. Just connect the source via SDI, component or any of the other offered on its rear panel, and your resulting clips are captured in ProRes format, without the extra step needed to transcode them.

Capturing uncompressed directly from the camera's image sensor
More and more cameras today provide SDI output straight from their image sensor, before the video signal is processed by the the compression chip in the camera and then streamed to tape, a hard drive or a storage card. If you are shooting in a situation where you can capture directly to your computer (perhaps a laptop), you can essentially capture the raw, uncompressed output from your camera straight into the computer via the V4HD's HD-SDI input and capture it as uncompressed SD or as compressed HD in either Apple ProRes format (in Final Cut) or DVCProHD format (in either Final Cut or Premiere). This is an especially useful capture workflow for HDV cameras because you bypass the HDV compression altogether and instead feed the raw uncompressed output from the camera directly into either ProRes or DVCProHD.

The V4HD provides up to 16 simultaneous channels of audio capture and playback with Final Cut Pro in any of four support audio formats: analog, AES/EBU, optical and embedded.

Hardware acceleration
Lurking inside the V4HD is an extremely powerful processor that provides real-time, broadcast quality video conversions.

The V4HD's hardware accelerated video processing distinguishes it from the HDX-SDI, which relies entirely on the host computer for all video conversions and processing. The V4HD takes on some of the heavy lifting required to process video (especially HD) in real-time, freeing the computer's CPU for other important processing tasks during real-time capture and playback.

Up-conversion and down-conversion
When you feed an SD signal into the V4HD, it automatically converts the signal in real-time to the currently chosen HD format. This allows the HD outputs to produce signal, even when an SD signal is being captured. It also allows you to capture the SD signal in the HD format of your choice, in real-time, during capture, saving you the time it would take to convert the clip off line afterwards.

Conversely, when you feed an HD signal into the V4HD, it automatically converts it in real-time to SD, so that all SD outputs are active, even when an HD signal is being captured. Because the down-conversion is being handled by the V4HD, you can also choose to capture the HD signal as SD on the computer, if you like.

Pulldown insertion and removal
Pull-down is a process used to convert 23.976 fps film footage to 29.97 interlaced video. Reverse pull-down, or pull-down removal, can be used to restore the original film frame rate. These processes involve the addition or removal of interlaced video fields. If you feed a signal running at 23.976 or 24 fps into the V4HD, and then send it to an output running at a different frame rate (29.97, 30, 59.94 or 60), the V4HD hardware processor inserts extra frames to reconcile the two formats.

You can even choose the cadence for pull-down insertion: either 2:3 or 2:3:3:2. These cadences prevent artifacts or "glitching" in the resulting footage.

Final Cut Pro

New support for Apple ProRes 422
The V4HD builds on the award-winning V3HD by adding support for full-raster 1920 x 1080 HD capture and playback using Apple's ProRes 422 codec in both standard and HQ modes. Ingest any uncompressed SDI or component HD source and then capture and edit in ProRes while monitoring your ProRes timeline in HD and SD simultaneously via the V4HD's hardware-accelerated up- and down-conversion. The V4HD is the ideal all-in-one video capture solution for your Apple ProRes workflow.

Hardware-accelerated DVCProHD

The V4HD also offers hardware-accelerated DVCProHD capture and playback from Final Cut.

Other workflows
In full-raster mode, the V4HD also allows you to capture and play HD material using any full-raster video format supported by Final Cut Pro with an 8-bit or 10-bit 4:2:2 color space and a compression ratio similar to ProRes (approximately 6:1 or greater).

Designed for Final Cut Pro
Using the V4HD with Final Cut Pro couldn't be easier. The V4HD software installer provides Easy Setup presets, Sequence presets, Capture presets and Device Control presets to get you going quickly. In minutes, you'll be ready to log and capture, edit and monitor your project material.

Device control
The V4HD takes full advantage of Final Cut Pro's device control features via Sony 9-pin device control for batch capture, print to video and edit to tape operations.

Audio I/O
The V4HD provides up to 24 simultaneous channels of audio capture and playback with Final Cut Pro in any of four support audio formats: analog, AES/EBU, optical and embedded.

Premiere Pro

A unique I/O solution for Premiere Pro
The V4HD represents a truly unique I/O solution for Adobe Premiere Pro on Windows 7 and Vista with native 64-bit operation. No other capture device offers such extensive video I/O connectivity, coupled with convenient plug-and-play FireWire operation and hardware-accelerated DVCPro capture and playback.

Hardware-accelerated DVCProHD
The V4HD is the first and only video capture/playback solution for Premiere Pro that provides hardware-accelerated DVCProHD (P2) capture from any HD video input, including HD component or HD-SDI sources.

The V4HD dovetails with the new P2 workflow features introduced in Premiere Pro, allowing you to immediately play back P2 clips (either imported or ingested) on a variety of SD and HD formats simultaneously, with no transcoding necessary.

Conversely, the V4HD allows you to capture any video source, either SD or HD, while simultaneously employing–hardware-accelerated encoding and up/down conversion, in the following supported formats: uncompressed SD (standard AVI clips), DV, DVCPro50 and DVCProHD.

Take Premiere Pro on the road
The V4HD is the first and only all-in-one capture/playback solution for Premiere that provides both SD and HD capture over FireWire, for the first time allowing you to build a comprehensive, yet compact and portable desktop workstation based on PC laptops or notebook computers equipped with FireWire, without the need for separate PCI expansion products.

Advanced features
Advanced features include an "Export to Tape" feature that allows you to lay back clips, or an entire project, to a tape deck using the V4HD's extensive machine control features. The V4HD also supports Premiere Pro's Batch Capture features.

Windows support
The V4HD supports both Windows 7 and Windows Vista with native 32- and 64-bit drivers.

SPECIFICATIONS

• Video Formats - The V4HD supports the following SD and HD video formats:
  • SD
    • 576i25 (PAL)
    • 480i29.97 and 486i29.97 (NTSC)
  • HD
    • 720p23.976
    • 720p24
    • 720p25
    • 720p29.97
    • 720p30
    • 720p50
    • 720p59.94
    • 720p60
    • 1080p23.976
    • 1080p24
    • 1080p25
    • 1080p29.97
    • 1080p30
    • 1080PsF23.976
    • 1080PsF24
    • 1080PsF25
    • 1080PsF29.97
    • 1080PsF30
    • 1080i25
    • 1080i29.97
    • 1080i30

INCLUDED ITEMS

• Included Software
  • MOTU Video Console software — graphically displays HD and SD signal path and provides complete control of all programmable features and settings.
  • MOTU CueMix Console software — provides on-screen mixing of all 32 audio channels of analog and digital input and output via graphic mixer with 32 faders.
  • Cross-platform drivers (Mac OS X, Windows XP, Windows Vista 32)

REQUIREMENTS

• For all systems:
  • 1 GB of RAM; 2 GB or more recommended
  • Available FireWire 400 or 800 port
  • Available USB port (for firmware updates)
  • Large hard disk drive (preferably at least 500 GB)
  • CD-ROM disc drive for installation
• For Mac OS X:
  • PowerPC G5 CPU or faster; Intel CPU and multiple CPUs or multiple-core CPU highly recommended. An Intel CPU is required for ProRes support.
  • Mac OS X version 10.4, 10.5, or 10.6; version 10.4.9 or later is required
  • For use with Final Cut Pro 5.1 or later; Final Cut Pro 6.0 or later is required for ProRes. Final Cut Pro 7.0 or later is recommended under Mac OS X v10.6.
• For Windows:
  • 32-bit
    • Pentium 4 CPU 1 GHz or faster; multiple processors or multiple cores highly recommended
    • 32-bit operating system: Windows 7, Vista, or XP Professional SP3
    • For use with Premiere Pro CS3 version 3.1 or later; CS4 support requires version 4.0.1 or later
  • 64-bit
    • Intel Core 2 Duo or AMD Phenom II processor
    • 64-bit operating system: Windows 7, Vista, or XP
    • For use with Premiere Pro CS4 version 4.2.1 or later; CS5 support requires Windows 7 or Windows Vista
• Supported NVIDIA graphics cards for GPU acceleration
  • Quadro FX line (3800, 4800 and 5800)
  • GeForce GTX series (285 and 470)