Though Premiere Pro doesn’t have specific graphics requirements for HDV, some applications require a minimum of 128MB of video RAM, while others demand as much as 256MB. In addition, make sure you get sufficient on-board RAM to support the formats you’ll be editing. Check the specs on your computer or, better yet, pull your current card out of your computer and take it down to your computer store. The most current bus is called PCI-Express, but many computers still have AGP graphics. If you don’t have a dual-head graphics card, and you’re looking to buy one, remember that your new graphics card must match the graphics bus on your computer. More expensive does not mean better here though you can pay over $300 for these, the cheap $4 plugs will serve just as well in this role. Google “DVI to VGA converters” and you should be able to find one for well under $10. As long as you have two ports, you’re in good shape, though if you have a VGA port, you may need a DB15-to-DVI converter to drive two flat-panel displays.
Some older cards have one VGA port (usually blue) and one DVI port (usually white). This is pretty easy just bend over and see if the card has two ports (a pre-requisite, naturally), and then determine what kind. The first step in setting up a dual-monitor editing scheme is making sure your graphics card will support it. To help you avoid any technical obstacles, this tutorial will walk you through the process of setting up a dual-monitor system for use with Adobe Premiere Pro. Today, with virtually all new graphics cards offering dual-output ports, flat-panel monitors priced well below $300, and rock-solid support in Windows XP and popular prosumer NLEs like Adobe Premiere Pro, building a dual-monitor station is both financially and technically within the reach of most professional event videographers. Dual-monitor editing stations used to be exotic, expensive, and hard to set up and maintain.
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