Using Help |Contents |Inde x Back 1Adobe Premiere Pro Help Using Help Using Help |Contents|IndexBack1 Using Help About Help Adobe Systems Incorporated provides complete documentation in an Adobe PDF-based help system. This help system includes information on all tools, commands, and features of an application. It is designed for easy on-screen navigation and can also be printed and used as a desktop reference.
Adobe Premiere Pro HelpUsing HelpUsing Help |Contents |Index Back 2To find a topic using the Search command (Acrobat 6): 1Choose Edit > Search. 2Type a word or phrase in the text box and click Search. Acrobat searches the document and displays every occurrence of the word or phrase in the Results area of the Search PDF pane. To find a topic using the Find command (Acrobat 5): 1Choose Edit > Find. 2Type a word or phrase in the text box and click Find.
Using Help | Contents | Index Back 4 Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 4 Learning About Adobe Premiere Pro Welcome Welcome to Adobe® Premiere® Pro, a revolutionary nonlinear video-editing application that delivers a breakthrough render-free experience. Its high-performance toolset takes video and audio production to a new level, giving you a professional edge.
Working with Adobe Premiere Pro People work with Adobe Premiere Pro in many different ways. In this section, you’ll find directions to specific information to help you accomplish some common Adobe Premiere Pro tasks. If you want to mix audio • Create audio crossfades using the audio transitions in the Effects palette (see “Crossfading or fading out audio” on page 176).
opacity” on page 221). • If a clip’s transparency is defined by a specific color, apply a keying effect (see “Using keys” on page 227). • If transparent areas are marked by another file, such as a matte, apply the matte to the clip (see “Using matte keys” on page 230). If you want to color correct a clip Adobe Premiere Pro includes a number of image adjustment filters, including a comprehensive color correction filter.
• Customize each window according to your editing style or the task at hand (see “Customizing the Project window display” on page 50, “Using labels” on page 53, “Customizing the Monitor window” on page 108, and “Using the Timeline window” on page 114). • Arrange and resize windows and palettes to suit your system or personal preferences, and save the arrangement as a custom workspace (see “Working with windows in Adobe Premiere Pro” on page 44).
following: • Step-by-step tutorials • Updates, patches, and plug-ins • Links to the Adobe Support Knowledgebase, containing the latest Adobe Premiere Pro technical support solutions • Training resources in print and online form • A searchable database of answers to technical questions • Links to user forums Adobe Press Adobe Press offers books that provide in-depth training in Adobe software, including the acclaimed Classroom in a Book® series developed by experts at Adobe.
Using Help | Contents | Index Back 10 Key Features in Adobe Premiere Pro Introduction Adobe Premiere Pro is a high-performance toolset that takes video and audio production to a new level, giving you a professional edge. Delivering frame-accurate control for shortand long-format projects, Adobe Premiere Pro enables you to produce precise results every time.
shortcuts, see “Using keyboard shortcuts” on page 55. Improved scene detection Specify a target folder in the Project window from the Capture window. Keep an eye on available hard disk space, deck activities such as seeking and shuttling, and other information during capture. For information on the capture controls, see “Using the Capture window” on page 64.
Work with enhanced audio capabilities Take advantage of powerful new audio controls and built-in ASIO and VST support to make your audio punch like never before. Powerful new audio controls Import and export the highest quality 24-bit, 96 KHz audio files. Edit audio clips at the subframe, audio-sample level with precision up to 1/ 96,000 of a second with 32-bit floating-point mathematical precision—for example, to remove small pops and crackles.
another area in a single action. Select and trim multiple edit points at once. Copy and paste noncontiguous clip selections. View live updates in the Trim window, which shows an edit in progress as you’re adjusting the clip. Toggle between video-frame-accurate and audio-sample-accurate editing with a single click.
Choose File > Capture, or press F5. The status line above the preview area tells you about the connection between your device and Adobe Premiere Pro. If the status line reads “Capture device offline,” check to make sure all cable connections are secure and the device is on. In some cases, you may need to click the Settings tab in the Capture window and make sure the Device Control options are set correctly. 4. Set up the Logging tab.
want to log. Using Help | Contents | Index Back 19 Adobe Premiere Pro Help Tutorials Using Help | Contents | Index Back 19 As you log clips, feel free to adjust options as necessary as the content on the tape changes. For example, as the tape plays back, you can adjust the Log Clips To Bin or the Clip Data options as you anticipate an upcoming scene.
Using Help | Contents | Index Back 22 Adobe Premiere Pro Help Tutorials Using Help | Contents | Index Back 22 3. Arrange the clips into a storyboard. In the Project window, drag the clips into the order you want them to appear in the sequence. Arrange them from left to right, top to bottom, in storyboard fashion. You can drag a marquee to select a group of clips or Ctrl-click to add or subtract from your selection.
choose for Method—Insert Edit or Overlay Edit—because in this case, there aren’t any clips in the sequence already. If you want a specific transition between each clip, check the appropriate box or boxes to apply the default audio or video transition. Specify the duration of the transitions by entering a value for Clip Overlap. To exclude either the video or audio tracks, select the appropriate Ignore option.
rotation, position the selection tool over a handle and drag when the rotation or scale cursor appears. To adjust position, place the selection tool anywhere on the clip (except on a clip handle) and drag. Use a combination of adjustments to set the graphic’s starting position. 5. Animate the graphic. In the Effect Controls window, move the current-time indicator to the end of the timeline.
2. Arrange the clips to which you want to apply an effect. Choose File > Import, select a folder or one or more clips, and click Open. Drag the imported clips from the Project window to one of the sequences and arrange them as needed. Using Help | Contents | Index Back 30 Adobe Premiere Pro Help Tutorials Using Help | Contents | Index Back 30 You’ll be nesting the sequence containing clips in the other sequence, which is still empty.
one of the three buttons in the Tab Stops window. The icons represent, from left to right, left-justified text, centered text, and right-justified text. Then click in the area above the ruler numbers. Note the stop that appears where you click, and note the tab marker that appears in the Adobe Title Designer drawing area. Adjust the location of the tab stop by dragging it along the ruler while following the location of the tab markers. Delete the stop by dragging it off the ruler.
higher). Place the current-time indicator at the beginning of the clip, and press Enter to preview the roll. By default, rolls begin from the bottom and move up through the visible area. To reverse the direction so that the roll begins from the top and moves down, select the clip, choose Clip > Speed/Duration, and then enter a value that is the negative of the displayed value. For example, if the speed value is 100%, enter –100%.
dragging the work area bar. 5. Select your DVD burner. When your project is ready for export, place an unused DVD disc in the DVD drive and choose File > Export > Export To DVD. In the Export to DVD dialog box, name your DVD disk and select the Chapter Markers At Timeline Markers option. Next, select DVD Burner on the left, and choose your DVD Burner from the list. Make sure that the burner status indicates that the DVD burner is on the system, and then choose a recording option. 6.
change your project settings—instead, change your export settings. You can customize the project settings (General, Capture, Video Rendering, and Default Sequence settings). However, it’s usually not necessary to do this because most workflows are addressed by the presets in the New Project dialog box. Capture cards certified as compatible with Adobe Premiere Pro may install their own optimized presets when you install the software that comes with the card.
it. If you later move, rename, or delete a source file, Adobe Premiere Pro is unable to find it the next time you open the project. In this case, Adobe Premiere Pro displays the Locate File dialog box. You can resolve this situation by selecting one of the following options: Display Only Exact Name Matches Displays only the files that match the name of the missing file when the project was last closed. If you know that the filename has changed, deselect this option.
asked. For information about specifying where Adobe Premiere Pro stores associated project files, such as captured video and audio, video and audio previews, and conformed audio files, see “Using scratch disks” on page 57. To save a project: Do one of the following: • Choose File > Save to save the currently open project. • To save a copy of a project and continue working in the new copy, choose File > Save As, specify a location and filename, and click Save.
to which you can go back depends on the Auto Save preference settings. See “Saving a project manually or automatically” on page 43. • To stop a change that Adobe Premiere Pro is processing (for example, when you see a progress bar), press Esc. • To close a dialog box without applying changes, click Cancel. • To set all values in an applied effect back to the default values, click the Reset button for the effect in the Effect Controls window.
Use the following techniques to reorganize windows using tabs: • To rearrange and separate a group of tabs, drag the tab for that window. • To group a tab with another tab or window, drag its tab to another window. Note that some tabs can be grouped only with certain other tabs, as noted above.
1 Select the clip. 2 Press the Play button on the thumbnail viewer. The Play button becomes a Stop button. Press Stop to stop playback. (Playing the clip in the thumbnail viewer does not affect Monitor window views.) To designate a clip frame as a poster frame: 1 Select the clip in a Project window. 2 Press the Play button or drag the play slider on the thumbnail viewer in the upper left corner of the Project window until the frame you want is displayed.
Clip instance A dependent reference to a source clip, used in a sequence. Each time you add a clip to a sequence, you create another instance of the clip. A clip instance uses the name and source file reference used by its source clip; however, the name of a clip instance is not updated if you change the name of its source clip. While clip instances are not listed in the Project window, they are differentiated in the Source view menu if you open instances there.
D B C F G E A JKLMNIH Using Help | Contents | Index Back 49 Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 49 Using libraries from Adobe Premiere 6.5 or earlier Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects. A library is a separate file apart from any project. Although Adobe Premiere Pro doesn’t directly support libraries, you can open a library.
specific properties. To change the width of a list view column: Position the mouse over a dividing line between column headings until the Column Resize icon appears; then drag horizontally. To rearrange list view columns: Drag a column heading horizontally. You cannot move the Name column. To add a column: 1 Choose Edit Columns from the Project window menu. 2 Select a column name (after which the new column will appear), and click Add. 3 Type a name. 4 Choose a type.
Audio Info The audio specifications of the clip. Video Usage The number of times the video component of a clip is used in the project’s sequences. Audio Usage The number of times the audio component of a clip is used in the project’s sequences. Tape Name Text entered when the clip was logged during batch capture, if it was captured using Adobe Premiere Pro or an earlier version of Adobe Premiere.
Adobe Premiere Pro includes the toolbox, Info and History palettes. When displayed, palettes always appear on top of all windows. The Info palette displays information about the item selected in the Project or Timeline windows, or in the Source view’s clip menu. The History palette lets you navigate among the available levels of undo. You can display, hide, or recombine palettes as you work. You can display the toolbox vertically or horizontally.
Using Help | Contents | Index Back 54 • Each state is listed with the name of the tool or command used to change the project as well as an icon representing the tool or command. Some actions generate a state for each window affected by the action, such as the Adobe Title Designer. Actions you perform in such a window are treated as a single state in the History palette. • Selecting a state dims those below it, to indicate which changes will be removed if you work from the project at that state.
Set pop-up menu in the Keyboard Customization dialog box. You can save different sets of shortcuts and restore the default settings. To create custom keyboard shortcuts: 1 Choose Edit > Keyboard Customization. 2 In the Keyboard Shortcuts dialog box, choose an option from the pop-up menu: • Application displays commands found in the menu bar, organized by category. • Windows displays commands associated with window buttons and pop-up menus. • Tools displays a list of tool icons.
begin a project. Types of scratch disks While performance can be enhanced by setting each scratch disk type to a different disk, you can also specify folders on the same disk. The following scratch disk options are available in the Edit > Preferences > Scratch Disks command: Captured Video Folder or disk where Adobe Premiere Pro stores video files that you capture using the Capture window. Captured Audio Folder or disk where Adobe Premiere Pro stores audio files that you capture using the Capture window.
Custom Indicates that the current path isn’t in the pop-up menu. The current path isn’t changed until you click Browse to specify any available disk location. Specifying project settings When you start a new project, you can review and change project settings by clicking the Custom Settings tab. You should do so only if none of the available presets matches the specifications of your source media.
Note: The Editing Mode setting should represent the specifications of the source media, not the final output settings. Specify output settings when you export; see “Exporting video as a file” on page 296. Timebase Specifies the time divisions Adobe Premiere Pro 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, and 29.97 for editing NTSC (North American standard) video.
Rate In general, higher rates provide better audio quality when you play back audio in sequences, but they require more disk space and processing. Resampling, or setting a different rate from the original audio, also requires additional processing time and affects the quality. Try to record audio at a high-quality sample rate, and capture audio at the rate at which it was recorded. Display Format (audio) Specifies whether audio time display is measured using audio samples or milliseconds.
may be available when 256 Colors is chosen, if the selected editing mode and compressor support creating custom palettes. When the button is available, click it and then select either Make Palette From Movie (to derive a color palette from the frames used in the video program) or Load Palette Now (to import a color palette you prepared and saved previously). You can load color palettes stored in the .ACO (Photoshop color swatch), .ACT (Photoshop color palette), or .PAL (Windows palette) format.
For details about each of the following guidelines, search for these topics. Be aware of the state of the timecode on your tape. If it’s frame-accurate (such as from a DV camera) and continuous from start to finish, you have maximum flexibility when capturing. If it isn’t continuous, your ability to batch capture and recapture may be limited. If it’s not frame-accurate (such as from a non-DV home camera), you may want to set timecode manually. Connect the DV or analog camcorder or deck to your system.
For details about troubleshooting capture, see “Avoiding DV capture problems” on page 96. Entering timecode values As you capture and edit video, you’ll enter timecode values many times. For example, you’ll enter timecode values to set In and Out points for clips, and to navigate the timeline. For maximum flexibility, Adobe Premiere Pro provides multiple ways to enter timecode. In Adobe Premiere Pro, the duration between the In and Out points includes the frames indicated by the timecode.
logged clips default to the next number, such as “Car Chase 02.” • You can change Capture Window settings at any time. For example, if you see the action changing as the tape plays back, you can get ready to capture the new upcoming action by selecting a different bin to log subsequent clips into or by typing in a different Description or Scene name. You don’t have to stop the tape as you change settings. • You can operate the DV device and log clips using the keyboard.
Note: Captured clips in Adobe Premiere Pro use two sets of timecodes. Media Start and Media End mark the start and end, respectively, of the untrimmed captured media, and In point and Out point refer to the start and end of the clip frames actually used in a sequence. For details about timecode, see “Using timecode for efficient capture” on page 89.
to set up device control from the Capture window because you can set up additional capture settings, such as capture locations, in the same window. To set up a project for device control: 1 If you want captured clips to be saved to a specific bin in a project, make sure that the project is open and the bin exists in the Project window. See “Using bins” on page 48. 2 Choose File > Capture. 3 In the Settings tab, click Edit to verify that the capture settings are appropriate for your device.
Performing a capture using device control When a device and the project are set up properly, you can begin capturing clips using device control. First you mark In and Out points, and then you capture the clip. If you want to mark In and Out points for many clips and have Adobe Premiere Pro capture all of the clips at once, see “Batch-capturing video” on page 72. To capture an entire tape: 1 Choose File > Capture to open the Capture window.
video manually. You can manually operate both the playback device controls and the Capture window controls in Adobe Premiere Pro. To capture a clip with a noncontrollable device: 1 Make sure that the deck or camcorder is properly connected to your computer. Using Help | Contents | Index Back 71 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 71 2 Choose File > Capture.
spreadsheet program and then import the spreadsheet into Adobe Premiere Pro as a batch list; see “Importing and exporting batch lists” on page 76. A B Using Help | Contents | Index Back 73 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 73 To log clips using device control: 1 Choose File > Capture, and make sure that your device is online as indicated above the preview in the Capture window.
opportunity to apply the same capture settings to all of the offline files you selected, overriding the settings of individual offline files. To see whether a clip has capture settings: Look in the Capture Settings column in the Project window. If you can’t find the column, you may have to scroll the Project window sideways to reveal this column, or the column may be hidden. (To reveal hidden columns, choose Edit Columns from the Project window menu, select them in the list, and click OK.
• To capture each selected clip using its own settings (or the project settings for clips that have no capture settings), click OK. • To specify settings that apply to all selected clips, click Override Clip Settings and specify the settings you want. This option is rarely needed for DV capture. 5 Verify that the deck and source videotape are set up properly for capture, and then click OK. 6 When the Insert Tape dialog box appears, insert the requested tape and click OK.
list, export it and open the file in a text editor such as Notepad or in a spreadsheet application. A batch list text file may come from sources such as: • Custom video-production software that uses a database or spreadsheet program to generate a batch list • Batch lists exported from Adobe Premiere 6.
files. Digital audio is stored as binary data readable by computers. Most digital audio is stored on computer hard disks, audio compact discs (CDs), or digital audio tape (DAT). If you have capture hardware that can read digital audio data directly, such as an IEEE 1394 (FireWire/i.Link) connection, you can preserve the quality of your digital audio source when capturing audio with the Capture window. When transferring digital audio to your computer, use digital connections where possible.
correspondingly larger file sizes. If you plan to export or play back the final cut from Adobe Premiere Pro, capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for final export or playback.
pixels as a unit of measure, specifying points may be sufficient. If you import a clip and it appears horizontally or vertically distorted (stretched), its pixel aspect ratio may not be interpreted correctly. If this is the case, inspect the pixel aspect ratio for the clip and change it if necessary (see “Capturing or importing various aspect ratios” on page 100). Adobe Premiere Pro continuously rasterizes EPS images, so you can scale these files without pixelization.
a single animation as you import (see “Importing an animation or still-image sequence” on page 84). You can import still images with frame sizes up to 4000 x 4000 pixels. The following guidelines affect how still images appear when you import them into Adobe Premiere Pro: • An imported still image uses the duration specified in the Edit > Preferences > Still Image preferences. You can change the duration of a still image in the Timeline window.
For information about setting crop marks in Adobe Illustrator, see the product’s documentation. Importing Adobe Photoshop still images You can import files from Adobe Photoshop 3.0 or later. However, Adobe Premiere Pro does not support 16-bit TIFF images created in Adobe Photoshop or other graphics applications. You can control how layered Adobe Photoshop files are imported; see “Importing layered Adobe Photoshop files” on page 83.
4 Choose Merged Layers to import all layers in the file as a single layer, or choose the layer you want to import from the file. 5 Choose one of the following options in the Footage Dimensions pop-up menu, and then click OK: • Document Size resizes the file to the size of the document as specified in Project Settings. • Layer Size imports the file at the size of the merged layers or selected layer.
You can add the contents of an existing Adobe Premiere Pro (or earlier version) project to an open project. When you import a project into an open project, the imported project’s clips and sequences are added to the Project window in a bin named after the imported project. The bin hierarchy of the imported project is maintained within its new bin in the current project. All of the imported project’s special effects, such as transitions and effects, are included.
and choose Universal Counting Leader from the menu that appears. Specify the following options as needed: Wipe Color Specifies a color for the circular one-second wipe area. Background Color Specifies a color for the area behind the wipe color. Line Color Specifies a color for the horizontal and vertical lines. Target Color Specifies a color for the double circles around the numeral. Numeral Color Specifies a color for the countdown numeral.
offline files manually. Use offline files in situations such as the following: • Clips are logged but not yet captured. Because offline files behave like captured clips, you can organize the logged, offline files in the Project window and even lay out sequences in the Timeline window before the offline clips are actually captured. When the offline files are captured (or located, if they were captured but missing), they replace the corresponding offline files.
2 Choose Project > Unlink Media. 3 Select one of the following options, and click OK: • Media Files Remain On Disk makes the selected files offline in the project but doesn’t erase the source files from the disk. Using Help | Contents | Index Back 89 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 89 • Media Files Are Deleted makes the selected files offline in the project and erases the source files from the disk.
Using Help | Contents | Index Back 90 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 90 • You plan to capture clips using batch (automated) capture. • You want to recapture clips because the original files became corrupted or were deleted. • You plan to export sequences to another system by using AAF.
3 Begin recording. Let the camera or deck run until the entire tape is recorded. Replacing DV timecode If the timecode on your tape isn’t continuous, you can create a copy, or dub, of the tape. The device making the copy records new timecode that is continuous, so you can then capture video (and the new timecode) from the copy. To replace the timecode on a tape: 1 Load the tape you have shot into a DV camcorder or deck, and make sure that it is fully rewound.
images—as long as they exist as digital files stored on disk. Source material exists in two main forms: • Digital media is stored in a file format that a computer can read and process directly. Many newer cameras and audio recorders can save images and sound in a digital format. All digital video (DV) camcorders and decks record video and audio in digital format. Digital media stored on tape must be transferred to disk before Adobe Premiere Pro can use it in a project.
Using Help | Contents | Index Back 94 Connecting an analog video source To capture analog video, first connect the camcorder or deck to the capture card installed in your system. Depending on your equipment, you may have more than one format available for transferring video and audio, including component video, composite video, and S-video. Refer to the instructions included with your camcorder and capture card. Analog video connections A. S-video connection B.
Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See “Capturing or importing various aspect ratios” on page 100. To prepare for DV video capture: 1 Connect the DV device (camcorder or deck) to your computer using an IEEE 1394 connection. The connection point on your DV device may be marked DV IN/OUT, i.Link, or IEEE 1394.
capture. You can change the display quality setting for Monitor window playback in the Monitor window menu. • If the video image does not appear in the Capture window, verify your device control and capture settings. To adjust device control settings from the Capture window, click the Settings tab; then click Options in the Device Control section. In the Device Control Options dialog box, make sure that the Check Status option is set to Online.
• Click New Project, select the capture card’s preset (if available) from the Load Preset tab, and click OK. • Select an existing project that was set up with the capture card’s preset and click OK. 4 After the project opens, choose Project > Project Settings > General. Click Playback Settings. 5 In the Capture window, carefully check the settings in the Settings panel. If you need to change the settings, click Edit.
then export your project to the industry-standard Advanced Authoring Format (AAF) for transfer to an editing system with more powerful hardware. You can then perform the final online edit with full-resolution clips on that system. About aspect ratios Aspect ratio specifies the ratio of width to height. Video frames have an aspect ratio (frame aspect ratio), and so do the pixels that make up the frame (pixel aspect ratio).
Project window. 3 4 16 9 Using Help | Contents | Index Back 100 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 100 If you display rectangular pixels on a square-pixel monitor without alteration, images appear distorted; for example, circles distort into ovals. However, when displayed on a broadcast monitor, the images appear correctly proportioned because broadcast monitors use rectangular pixels.
Project Settings > General to inspect the project’s aspect ratio. In addition, you can use the File > Interpret Footage command to inspect and change the pixel aspect ratio that Adobe Premiere Pro assumes for individual source clips in the Project window. By ensuring that all files are interpreted correctly, you can combine footage with different ratios in the same project and generate output that doesn’t distort the source images.
1 Prepare footage using one of the methods following this procedure. 2 Capture or import the file into Adobe Premiere Pro. Prepare square-pixel files for us in a D1 or DV project using one of the following methods. • If your final output is DV (NTSC), create and save it at a 720 x 540 frame size to prevent upsampling, or 640 x 480 to prevent field distortion on a field-rendered file (such as a 3D animation).
viewed clips are listed in the Source menu, a pop-up menu accessed by clicking the triangle next to the current clip’s name in the Source tab. The Source menu identifies master clips by name, and clips opened from a sequence are also identified by their sequence name and starting time in the sequence.
sequence (for the Program view duration) is substituted. When no Out point is set, Source view substitutes the ending time of the clip to calculate duration, and the Program view substitutes the ending time of the last clip in the sequence to calculate duration. Playback controls in the Monitor window A. Go To In point B. Go To Out point C. Play In point to Out point D. Go To Previous Marker E. Frame back F. Play/Stop G. Frame forward H. Go To Next Marker I. Loop J. Jog disk K.
increases as you drag the slider farther from its center position. Releasing the slider returns it to the center position and stops playback. • Drag the jog disk left or right, past the edge of the controller if necessary. If you drag to the edge of the screen without reaching the end of the clip or sequence, you can continue from the same time position by dragging from the jog disk again.
performing tasks that don’t involve source clips, such as audio mixing, you might display the Program view only. You can also resize the Monitor window to any size between minimum and maximum limits. When you do, the video displays in both views scale accordingly. To customize the Monitor window view: Do any of the following: • To limit the view to the Program view, choose Single View from the Program view’s menu. • To limit the view to the Source view, choose Single View from the Source view’s menu.
Program views. You can change the magnification setting for each view to see the video in more detail, or to increase the size of the pasteboard area around the image (to adjust motion effects more easily, for example). If the current size of the view can’t accommodate the entire video image, scroll bars appear in that view. To change the magnification of a view: Choose a magnification setting from the View Zoom Level pop-up menu in the Source or Program view.
In order to faithfully digitize or reproduce video, postproduction and duplication facilities use hardware devices called waveform monitors and vectorscopes. Similarly, you can use the Adobe Premiere Pro software vectorscope and waveform monitor to accurately evaluate video levels—specifically, color and brightness. These instruments not only help you output a video program that meets broadcast standards but also assist you in making adjustments based on aesthetic considerations, such as color corrections.
for your reference and not for editing per se, the reference monitor contains controls for cueing to frames, not for playback or editing. When you gang the reference monitor and Program views together, you can use the Program view’s playback controls. You may open only one reference monitor. For more about using Monitor window controls and viewing options, see “Using Monitor window controls” on page 105. To open a reference monitor: In the Monitor window pop-up menu, choose New Reference Monitor.
In the sequence pop-up menu, choose Sequence Zero Point, enter a starting timecode, and click OK. (The starting time must be a positive number.) C D E F G AB Using Help | Contents | Index Back 114 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 114 To toggle the time ruler display between frames and audio samples: In the sequence pop-up menu, choose Audio Units to make the time ruler display audio samples.
Resizing Tracks You can resize the width of the track header area to accommodate long track names and resize the height of expanded tracks to better view icons or control keyframes. Additionally, you can adjust the relative proportion of visible video and audio tracks to favor the tracks you need to see. This feature is most useful when more video or audio tracks are in the sequence than can be visible in the Timeline window at one time.
You can add or delete tracks at any time and specify a custom name for each one. Each sequence can contain up to 99 video and 99 audio tracks. However, a sequence must contain at least one of each type of track, and sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing.
or export (see “Previewing a sequence” on page 157). The Timeline window’s current-time indicator, a blue marker in the time ruler, corresponds with the frame displayed in the Monitor window’s Program view. A vertical line extends from the Timeline window’s current-time indicator to the bottom of the time ruler. You can change the current time by dragging the current-time indicator (the blue marker), but the vertical line is for your reference only.
clip to the Timeline window or by setting sequence In and Out points. (But as you will see in “Adding clips to a sequence” on page 127, you do not always need to set all four points to perform the edit.) Even after clips are arranged in a sequence, you can adjust their In and Out points—a process known as trimming—using a variety of techniques described in “Trimming clips in the Timeline window” on page 148.
To remove In and Out points in the Source or Program view: 1 Do one of the following: • To delete In or Out points from a clip, select the Source view. • To delete In or Out points from a sequence, select the Program view. 2 Depending on the type of marker you want to remove, choose Marker > Clear Clip Marker or Marker > Clear Sequence Marker, and choose an option in the submenu: • In and Out resets both the In and Out point. • In resets the In point only.
To use audio samples in the Timeline window: 1 In the Timeline window’s pop-up menu, choose Audio Units. The time rulers in the Timeline window and Program view switch from a frame-based to a sample-based scale. 2 If necessary, expand the audio track containing the clip you want to edit, click the Set Display Style button, and choose Show Waveform.
3 In the Source view, click the Set Unnumbered Marker button . 4 To add an unnumbered sequence marker: 5 Set the current time in the sequence by doing one of the following: • Use the playback controls in the Program view. • Drag the current-time indicator in the time ruler area of the Timeline window. 6 Set an unnumbered marker by doing one of the following: • Click the Set Unnumbered Marker button .in the Program view. • Click the Set Unnumbered Marker button . in the Timeline window.
• In • In the Source view or Program view’s time ruler, drag the Marker icon . the Timeline window’s time ruler, drag the marker to a new position. Using Help | Contents | Index Back 125 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 125 Dragging beyond either edge of a time ruler scrolls the time ruler. As usual, scrolling the Program window’s time ruler doesn’t affect the view of the sequence in the Timeline window, or vice versa.
• To • To create a chapter link, enter the chapter name and number in the Chapter field. create a Web link, enter a URL and Frame Target. 3 To enter comments or specify options for other sequence markers, click Prev or Next. 4 Repeat steps 2–3 until you are finished modifying sequence markers, and click OK. About marker duration The default duration for marker comments is one frame, but you can increase the duration to help create chapter and Web links.
clips in another track, lock the track. Clips before an overlay edit (top) and after an overlay edit (bottom) Clips before an insert edit (top) and after an insert edit (bottom) Specifying source and target tracks Before you add a clip to a sequence, you must decide which source tracks you want to use: video, audio, or both. You must also determine the target tracks—that is, which tracks the clip will occupy in a sequence (which can have numerous video and audio tracks).
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 129 Dragging clips into a sequence The most direct and intuitive way to assemble clips into a sequence is by dragging them from the Project window or Source view to the appropriate track in the Timeline window. The video and audio components of linked clips appear in corresponding tracks in the sequence (Video 1 and Audio 1, for example), unless the audio channel type of the clip is incompatible with the target track.
To add a track while adding a clip: Drag a clip from the Project window or Source view into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Adobe Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip.
1 Specify the source and target tracks (see “Specifying source and target tracks” on page 128). 2 In the Source and Program views, mark any combination of three In and Out points (see “Setting, navigating, and removing In and Out points in the Monitor window” on page 120). 3 Do one of the following: • To perform an insert edit, click the Insert button . • To perform an insert edit and shift clips in target tracks only, Alt-click the Insert button . • To perform an overlay edit, click the Overlay button .
Placement Specifies how clips are placed in the sequence. If you choose Sequentially, clips are placed one after another. If you choose At Unnumbered Markers, clips are placed at unnumbered sequence markers. Choosing At Unnumbered Markers makes the Transitions options unavailable. Method Specifies the type of edit to perform. Choose Insert Edit to add clips to the sequence starting at the sequence’s current time using insert edits, which shift existing clips forward in time to accommodate the new material.
view of the Monitor window, and in the Timeline window. Tabs make it easy to switch between sequences, though you can also “tear away” a tab to view a sequence in its own window (see “Using tabs in windows” on page 45). Bear in mind that all the sequences in a project must share the same timebase, which defines how Adobe Premiere Pro calculates time, and which cannot be changed after you create the project (see “Specifying project settings” on page 58).
the following: • Reuse sequences. When you want to repeat a sequence—particularly a complex one— you can create it once, then simply nest it in another sequence as many times as you want. • Apply different settings to copies of a sequence. For example, if you want a sequence to play back repeatedly but with a different effect each time, just apply a different effect to each instance of the nested sequence.
the next stage of editing, you can focus on fine-tuning the clips in the sequence. You will continue to use the controls in the Source and Program view not only to add to the sequence, but to remove portions as well. In addition, you can accomplish many editing tasks by directly manipulating clips in the Timeline window, where you can move them and adjust their In and Out points by simply clicking and dragging.
You can Alt-click an individual clip to select it without ungrouping the clips. You can ungroup the clips at any time. To group clips: Select multiple clips, and choose Clip > Group. To ungroup clips: Select a group clip, and choose Clip > Ungroup. To select one or more clips in a group of clips: Do any of the following: • Alt-click a single clip in a group. • Shift+Alt-click to select additional clips in a group.
To change the duration of a clip or still frame: 1 In the Timeline window or Project window, select a clip. 2 Do one of the following: • To change duration numerically, choose Clip > Speed, click the link button to unlink speed and duration, type a new duration, and click OK. • To change duration visually in the Timeline window, move the selection tool over an edge of the clip so that it changes to the trim out or trim in tool, and drag the edge.
you split a clip, Adobe Premiere Pro creates a new instance of the clip and any clips to which it is linked. By Alt-clicking with the razor, you can split only the audio or video portion of linked clips. Note: If you want to change effect settings over time, you needn’t split the clip; you can apply keyframes to a single clip instead. See “Working with keyframes in the Timeline window” on page 222.
video and audio portions of the clip are linked so that when you drag the video portion in the Timeline window, the linked audio moves with it, and vice versa. For this reason, the audio/video pair is called a linked clip. In the Timeline window, each part of the linked clip is labeled with the same clip name, which is underlined. The video is marked [V] and the audio is marked [A].
exiting Adobe Premiere Pro or replacing files. Exported Adobe Premiere Pro movies can also be embedded with information that allows them to be opened using the Edit Original command that is in other applications, such as Adobe After Effects. To edit a clip in its original application: 1 Select a clip in either the Project window or Timeline window. 2 Choose Edit > Edit Original.
option in the Project Settings (see “Specifying project settings” on page 58). If you specified No Fields, Adobe Premiere Pro keeps the upper field unless you selected Reverse Field Dominance, in which case it keeps the lower field. This option is useful when freezing a frame in the clip. Flicker Removal Prevents thin horizontal details in an image from flickering by slightly blurring the two fields together. An object as thin as one scan line flickers because it can appear only in every other field.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 147 • To delete both the audio and video of linked clips, click the first clip in the track. • To delete only one track’s clips and not the linked counterparts, Alt-click the track’s clips. 3 Press Delete. Note: You can also delete a track along with everything it contains; see “Adding, renaming, and deleting tracks” on page 117.
the integrity of the sequence. You can also perform the equivalent of insert and overlay edits (see “Adding clips to a sequence” on page 127) by dragging clips already in the Timeline window. To make precise adjustments to an edit point, see “Using the Trim window” on page 156. You can perform trimming tasks to a range of selected clips or a group clip just as you would a single clip.
icon appears. To perform a rearrange edit by dragging: Click and drag a clip; then press Ctrl+Alt as you drop it to a new location. As you press Ctrl+Alt, the Rearrange icon appears. Releasing the clip performs an extract edit, and an insert edit that shifts clips in the destination tracks only. Trimming with the Trim pointer You can change a clip’s In point or Out point by simply dragging its edge in the Timeline window.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 152 2 Drag left or right from the edge of the clip you want to change. The same number of frames added to the clip are trimmed from the adjacent clip. (Alt-drag to affect only the video or audio portion of a linked clip.) Timeline window during (above) and after (below) a rolling edit To perform a ripple edit: 1 In the toolbox, select the ripple edit tool .
clip earlier in time. • Drag right to move the Out point of the preceding clip and the In point of the following clip later in time. When you release the mouse button, Adobe Premiere Pro updates the In and Out points for the adjacent clips, displaying the result in the Program view and maintaining the clip and sequence duration. The only change to the clip you moved is its position in the sequence.
• Drag the center jog disk left or right. Using Help | Contents | Index Back 156 Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 156 • Click the timecode display between the views, type a valid timecode number to trim the edges of both clips to that frame, and press Enter. • Select the boxed number above the center jog disk, type a negative number to trim both clips left or type a positive number to trim both clips right, and press Enter.
degrades gracefully. Areas that can’t be played at the project’s full frame rate are indicated by a red line in the time ruler. To play these areas, you can set the time ruler’s work area bar over the red preview indicator and render a preview file. This renders the segment as a new file on the hard drive, which Adobe Premiere Pro can play at the project’s full frame rate. In the timeline, rendered areas are marked with a green line.
To preview on a monitor via a DV camera or deck: 1 Choose Project > Project Settings > General, and click the Playback Settings button. 2 For Video Playback, check Play Video on DV Hardware if you want to preview video through the DV device to a television monitor. Video still appears in the Program view, but may look staggered. Leave the option unchecked to view video in the Monitor window only.
removable media. To delete preview files: With the Timeline window active, choose Sequence > Delete Render Files. When you are prompted, click OK. Using Help | Contents | Index Back 162 Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 162 Adding Transitions About transitions By default, placing two clips next to each other in the Timeline results in a cut, where the last frame of one clip is followed by the first frame of the next.
1 Do one of the following: • Choose Edit > Preferences > General. • In the Effects window, choose Default Transition Duration from the Effects window menu. 2 Change the value for the Video Transition Default Duration or Audio Transition Default Duration; then click OK. To add the default transition to the timeline: 1 Target the track where you want to add the transition. (See “Specifying source and target tracks” on page 128.) 2 Position the current-time indicator at the edit point where the two clips meet.
the end of one clip only—as long as an adjacent clip has no handles that show behind the transition. To align a transition by dragging: 1 If you want to align the transition in the Effect Controls window, double-click the transition and make sure that the timeline view is visible in the Effect Controls window. If the timeline view is hidden, click the Show/Hide Timeline View button .
1 If you want to align the transition in the Effect Controls window, double-click the transition and make sure that the timeline view is visible in the Effect Controls window. If the timeline view is hidden, click the Show/Hide Timeline View button . 2 In the Effect Controls window or the Timeline window, position the pointer over the transition until the In Point icon or the Out Point icon appears; then drag.
Transition settings Many transitions have settings in common. The following list describes the settings you’ll find in many transitions: Edge selectors Changes the orientation or direction of the transition. Click an Edge selector arrow on the transition’s thumbnail. For example, the Barn Doors transition can be oriented vertically or horizontally. A transition doesn’t have Edge selectors if it has one orientation or if orientation isn’t applicable.
gradient wipe, image B fills the black area of the grayscale image and then shows through each level of gray as the transition progresses until the white area becomes transparent. When you create a Gradient Wipe transition, you can specify the softness of the transition’s edges. To create a Gradient Wipe transition: 1 In the Effects window, expand the Video Transitions bin and the Wipe bin inside it. 2 Drag the Gradient Wipe transition from the Wipe bin to an edit point between clips in the timeline.
may not need many of the options. For example, you might be creating a rough cut from video and audio captured together from DV footage, output to stereo tracks. In such a case, use the following guidelines: • Start with the Master meters and volume fader in the Audio Mixer window; if it’s too far below 0 dB or too high (the red clipping indicator lights up), adjust the level of clips or tracks as needed. See “Adjusting gain or volume levels” on page 175.
already contain volume changes and effects applied to the tracks in the source sequence. Values applied at all of these levels will be combined for the final mix. To help you view and edit the audio settings of any clip or track, Adobe Premiere Pro provides multiple views of the same audio data. • Track volume or effect values can be viewed and edited both in the Audio Mixer window (see “Working with the Audio Mixer window” on page 173) and in the Timeline window.
Working with the Audio Mixer window In the Audio Mixer window, you can adjust settings while listening to audio tracks and viewing video tracks. Each Audio Mixer track corresponds to a track in the Timeline window of the active sequence and displays the Timeline window’s audio tracks in an audio console layout. Each track is labeled near the top of the Audio Mixer window, and you can rename a track by double-clicking its name.
window. • To display the effects and sends lists, click the triangle to the left of the automation options pop-up menus. To add an effect or send, click any of the triangles on the right side of the effects and sends lists. Note: If you can’t see all of the tracks you have set to display, they may be displayed beyond the edges of the Audio Mixer window. Resize the window or scroll horizontally. To control which tracks are monitored during playback: Click the Solo button for the corresponding tracks.
2 Click the Show Keyframes button , and choose Show Clip Volume or Show Track Volume from the menu that appears. 3 Use the pen tool to adjust the level uniformly (if keyframes have not been added) or to add or edit keyframes. See “Working with keyframes in the Timeline window” on page 222. To specify a uniform gain level for a clip: 1 In the Timeline window, select an audio clip. 2 Choose Clip > Audio Options > Audio Gain. 3 Do one of the following, and then click OK: • Type a Gain value.
menu in the Effect Controls window. To edit an audio transition: Double-click the transition in the Timeline window and adjust the transition in the Effect Controls window. See “Changing transition settings” on page 166. To customize the rate of audio fade or cross-fade: For each clip involved in the fade, adjust the clip’s audio volume keyframe graph instead of applying a transition. See “Adjusting gain or volume levels” on page 175.
Balancing is distinct from panning in that spatial information is already encoded in multiple channels; balancing simply alters their relative proportions. Note: If necessary, you can balance a clip by applying the Balance audio effect. Do this only after you determine that track balancing isn’t sufficient.
A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C. Left channel D. Center channel E. Right channel F. Center percentage G. LFE volume H. Left surround channel I. Right surround channel For best results monitoring pan or balance settings, make sure that each of your computer or audio card’s outputs is connected to the correct speaker, and make sure that positive and negative wires are connected consistently across all speakers.
stereo when it’s used in a mono audio track. Use the Treat as Stereo command on an instance of the clip in the Project window, and then drag it to a stereo track. To use a mono clip as stereo: 1 In the Project window, select a mono clip. 2 Choose Clip > Audio Options > Treat as Stereo. Viewing audio clips You can view an audio clip’s Volume, Mute, or Pan time graphs and its waveform in the Timeline window.
installed in Windows. In addition, if you want to input more than two stereo channels or monitor 5.1 surround audio, the device driver must comply with the ASIO (Audio Stream Input Output) specification. If it doesn’t, only stereo inputs and outputs will be available regardless of the number of hardware inputs and outputs that are connected.
in the order they are listed and feeds the result of an effect into the next effect in the list; therefore, changing the order can change the results. The effects list also provides full control over VST plug-ins you have added; see “Working with VST effects” on page 186. Effects applied in the Audio Mixer window can also be viewed and edited in the Timeline window. An effect can be applied pre-fader or post-fader, which determines whether the effect is applied before or after the track’s fader is applied.
add or edit keyframes. See “Working with keyframes in the Timeline window” on page 222. To remove a track effect from the Audio Mixer window: In the effects list in the Audio Mixer window, click the triangle to the right of the effect you want to remove, and choose None. To bypass a track effect: Click the Bypass button near the bottom of the effects list until it appears with a slash. Applying effects to audio clips You can find audio effects in the Effects window, inside the Audio Effects bin.
• Right-click the name of the applied effect in the effects list, choose Edit, and specify options. • Double-click an effect name, and specify options. • Select the option you want to edit from the pop-up menu at the bottom of the effects/ sends panel on the same track, and use the effect control knob above the pop-up menu to adjust the option’s properties. Note: A VST editor window may not be available for every VST effect.
are often used to route a track’s signal to a submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix. A send includes a level knob that controls the ratio of the send track volume to the submix volume. This value is called the wet/dry ratio, with “wet” referring to the effects-processed submix signal and “dry” referring to the signal from the send track.
Premiere Pro must downmix the audio to the number of channels in the destination track. Downmixing is often practical or necessary because a sequence’s audio may be played back on audio gear supporting fewer audio channels than your original mix. For example, you might create a DVD with 5.1 surround audio, but some of your customers may use speaker systems or televisions that support only stereo (2 channels) or mono (1 channel).
value, and the value remains where it was when you stopped adjusting it. Touch Identical to Write, except that automation does not start until you begin to adjust a value. When you stop adjusting a property, its value returns to where it was before the current automated changes were recorded. The rate of return is determined by the Automatch Time audio preference.
application window. Full performance is restored when conforming is complete, and the conformed audio allows instantaneous audio playback. • Conformed audio is stored in a folder named Conformed Audio Files inside the folder My Documents/Adobe/Premiere Pro/7.0 by default. This can be changed by choosing Edit > Preferences > Scratch Disks and then specifying a location for Conformed Audio.
1 Choose File > Import. 2 Select a title and click Open. Note: Adobe Title Designer opens titles that have a .PRTL extension as well as titles created in Adobe Premiere 6.0 or earlier that have a .PTL extension; the latter are automatically resaved with a .PRTL extension. To edit a title in an open project: Double-click the title in the Project window or the Timeline window.
2 Choose Rename Template from the Templates menu. 3 Type a name in the Name text box, and click OK. To delete a template: 1 Choose Title > Templates and select a template. 2 Choose Delete Template from the Templates menu, and then click OK. Note: If you delete a template using this procedure, it is removed from the hard disk.
televisions display, keep text within the title-safe margins, and all other important elements within the action-safe margins. For best results, preview your video on a television monitor connected to your computer using the Send Frame to External Monitor button. Note: If you are creating content for the Web or for CD, the title-safe and action-safe margins do not apply to your project because the entire image displays in these mediums. Title-safe and action-safe margins A. Safe title B.
1 In the Adobe Title Designer window, click the path type tool or the vertical path type tool . Using a path type tool is similar to drawing with a pen tool. For information on using the pen tools, see “Working with the pen tool” on page 200. 2 In the drawing area, click where you want the text to begin. 3 Click or drag to create a second point. When you type the text, it appears along the top or right edge of the path.
Using Help | Contents | Index Back 199 • To rotate the text box and the characters, either select the rotation tool and drag a corner point, or place the cursor just outside one of the corner points, and when the cursor becomes the Rotate icon , drag the corner point. Changing font attributes The Adobe Title Designer includes a font browser, which displays all of the installed fonts. The Adobe Title Designer applies the font you select in the font browser to the selected text object.
Working with the pen tool The Adobe Title Designer includes standard pen tools that resemble those used in graphic design applications such as Adobe Illustrator and Adobe Photoshop. Use the pen tools to create an object of any shape, including straight lines at any angle or smooth flowing curves. Drawing straight segments with the pen tool You draw straight lines by clicking the pen tool in the drawing area. This creates control points, called anchor points, that are connected by straight segments.
you can easily adjust the shape of the connecting paths. You can also quickly add points to or delete points from a segment, or change an anchor point from one type to another. Once you draw lines or curves, you can either leave the connecting segments open, meaning that the final segment does not return to the original starting point, or you can close the connecting segments by clicking the initial control point. To draw curves with the pen tool: 1 Select the pen tool.
To add an anchor point to a path: 1 Select the path. 2 Select the add anchor point tool . 3 Do one of the following: • To add an anchor point without creating or manually adjusting a curve, click where you want to add an anchor point. • To add an anchor point and simultaneously move the new point, drag the spot on the path where you want to add an anchor point. To delete an anchor point: 1 Select the path containing the anchor point. 2 Select the delete anchor point tool .
objects” on page 205. To place a logo in a text box: 1 Using a type tool, click where you want to insert the logo. 2 Choose Title > Logo > Insert Logo into Text. To return a logo to its original size or aspect ratio: Select the logo and choose either Title > Logo > Restore Logo Size or Title > Logo > Restore Logo Aspect Ratio. Working with objects You can use the Adobe Title Designer to designate the order of your overlapping objects.
• To distribute the selected objects, choose Title > Distribute Objects and choose the type of distribution you want. Transforming objects Once you have created an object, you have full flexibility in adjusting its overall shape, size, position, and opacity. To adjust various global properties of the objects, either drag their control points in the drawing area, use the controls in the Transform section of the Adobe Title Designer, or choose a command from the Title menu.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 207 Using object styles With the Adobe Title Designer, you can apply a custom style to each object or group of objects you create. Styles can consist of any variation of any properties you add to your objects. These properties include strokes, fills, sheens, textures, shadows, as well as font types. Using styles helps you maintain consistency across multiple titles in a project.
text box and changing the value. Adjust the baseline shift between specific contiguous characters by selecting only those characters and changing the value. Slant Specifies the slant of an object, in degrees. Small Caps When selected, specifies that all selected objects display in uppercase. Small Caps Size Specifies the size of the small caps as a percentage of regular height. Adjusting this value changes the size of all characters in the text object with the exception of the leading character.
2 In the Object Style section, click the arrow next to Fill, and set any of the following options: Solid Creates a fill of uniform color. Set options as desired. Linear Gradient, Radial Gradient Choose Linear Gradient to create a linear, two-color gradient fill. Choose Radial Gradient to create a circular, two-color gradient fill. The Color option specifies the beginning and ending gradient colors, which are displayed, respectively, in the left and right boxes, or color stops.
Flip with Object Specifies that the texture flips horizontally and vertically when the associated object is flipped (by dragging the control points over each other). Rotate with Object Specifies that the texture rotates in sync with the object. Scaling Object X, Scaling Object Y Specifies how the texture is stretched along the x or y axis when applied to the object. The Texture option doesn’t stretch the texture but applies it to the face of the object from the upper left corner to the lower right corner.
range inverted. Try this option if the area that is supposed to appear solid is blank. To turn off a sheen or texture: Deselect the Sheen or Texture option. Creating strokes The Adobe Title Designer gives you great flexibility in adding an outline, or stroke, to your objects. You can add both inner strokes and outer strokes. Inner strokes are outlines along the inner edge of your objects, and outer strokes are outlines along the outer edge. You can add up to 12 strokes to your objects.
shadow options give you full control over color, size, angle, spread, distance, and opacity. To create a shadow: 1 Select an object. 2 In the Object Style section, select Shadow. 3 Click the arrow next to the Shadow option to set any of the following values: Color Specifies the shadow color. Using Help | Contents | Index Back 213 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 213 Opacity Specifies the shadow’s level of transparency.
have selected. You can then apply the style to any new object you create. Using Help | Contents | Index Back 214 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 214 To create a style and display its swatch or name: 1 Select an object. 2 Do one of the following: • From the Styles menu, choose New Style. • Click the New Style button in the Styles section. 3 Type a name for the style and click OK.
Replace Style Library command to display the style library again. To save a style library: 1 In the Styles section, choose Save Style Library from the Styles menu. All styles visible in the Styles section are saved. 2 Specify a name and location for the style library file and click Save. Adobe Premiere Pro saves style library files with the .PRSL (Adobe Title Designer Style Library) extension. To load a saved style library: 1 In the Styles section, choose Load Style Library from the Styles menu.
Using Help | Contents | Index Back 217 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 217 Using tabs Similar to a standard word processor, the Adobe Title Designer uses tabs to assist in text alignment and justification. When you create credits, especially rolling credits, tabs can help display the credits in professionally aligned and justified columns. You can set multiple tabs for any text object in the Adobe Title Designer.
Do one of the following: • Play the title in Program view: Use any of the playback controls in the Timeline window or Program view of the Monitor window. The real-time preview feature can render most titles on the fly and play them back at the project’s full frame rate. • Build a preview of the title: In the Timeline window, move the work area bar so that it covers the portion of the Timeline window containing the title, and then choose Sequence > Preview to build a preview file.
keying to remove a background with a uniform color, such as a blue screen. Separated color channels (left), the alpha channel (center), and all color channels viewed together (right) Compositing clips Each video track in the Timeline window contains an alpha channel that stores transparency information. All video track frames are completely transparent except where you’ve added opaque content such as video, still images, or titles.
By default, clips on tracks appear at full (100%) opacity except for areas marked by a clip’s mask, matte, or alpha channel. Make an entire clip more transparent by setting an opacity value below 100%. When a clip’s opacity value is set to less than 100%, clips on lower tracks may be visible. At 0% opacity, the clip is completely transparent. If no clips are below a partially transparent clip, the sequence’s black background becomes visible.
usually easier for editing keyframes of effects that have multiple, angular, or twodimensional values, such as Levels, Rotation, or Scale, respectively. • In the Timeline window, variations in keyframe values are indicated graphically, so you can see at a glance how keyframe values change over time. By default, values change between keyframes in a linear manner, but you can apply options that refine the rate of change between keyframes. For example, you can bring motion to a gradual stop.
In the effect properties pop-up menu that appears after the name of the clip or track, select the property you want to adjust. If you can’t see the pop-up menu, try increasing the magnification of the Timeline window. Adding keyframes in the Timeline window You can add keyframes to the Timeline window at the current time using the Add Keyframe button, or at any time using the pen tool.
keyframe. To select multiple keyframes: Do one of the following: • With the selection tool or pen tool, Shift-click to select multiple contiguous or noncontiguous keyframes. Using Help | Contents | Index Back 225 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 225 • With the pen tool, drag a marquee around the keyframes to select contiguous keyframes. Shift-drag to add more keyframes to an existing selection.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 226 You can paste keyframes only to a clip or track that displays the same property as the copied keyframes. Also, Adobe Premiere Pro can paste keyframes at the current-time indicator on only one clip or track at a time.
To apply a key to a clip: 1 In the Effects window, expand the Video Effects bin and then the Keying bin. 2 Drag a key to a clip in the Timeline window. Dragging a key from the Effects window to a clip in the Timeline window 3 In the Video Effects section of the Effect Controls window, click the triangle next to the key effect name to expand it and view options. 4 Adjust the key’s options.
preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing. Mask Only Displays only the clip’s alpha channel, as modified by the key settings. Drop Shadow Adds a 50% gray, 50% opaque shadow offset from the opaque areas of the original clip image by four pixels down and to the right. This option works best with simple graphics such as titles.
You can also use the Luma key to key out light areas by setting Threshold to a low value and Cutoff to a high value. Using Help | Contents | Index Back 230 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 230 Using the Multiply and Screen keys The Multiply and Screen keys use an underlying image as a map to determine what part of the keyed image to make transparent.
footage (before the moving object enters the scene). For this reason, the Difference Matte key is best used for scenes that have been shot with a stationary camera. To replace a static background behind a moving object: 1 Find a frame of your clip that consists only of the static background. 2 Save this frame as an image file. (For information about saving a frame, see “Exporting a still image” on page 300.) 3 Place the video clip in a track.
1 Add the background clip to a track. 2 Add the clip you want to superimpose to any track higher than the track containing the background clip. This is the clip revealed by the track matte. 3 On a third track, add the track matte clip. (If you need to add a third track, drag the matte to the empty area in the Timeline window above the highest video track so that a new track is automatically created.
Using Help | Contents | Index Back 234 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 234 4 Type a name for the matte, as you want it to appear in the Project window. Then click OK. Brightly colored mattes can serve as temporary backgrounds to help you see transparency more clearly while you adjust a key effect.
desired result. Use Standard effects to add special characteristics or to edit your images, such as adjusting tone or trimming pixels. Adobe Premiere Pro includes several video and audio effects, which are located in the Effects window. Standard effects must be applied to a clip in the Timeline window and then adjusted in the Effects Control window (see “Applying and controlling Standard effects” on page 244).
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 237 The Effect Controls window includes a timeline, current-time indicator, zoom controls, and a navigator area similar to those found in the Program view and Timeline window. When a clip is selected in the Timeline window, the Effect Controls window automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline.
In the Effect Controls window, click the Play Audio button . To play audio as a continuous loop, click the Loop Audio button before you click Play Audio. Note: Audio playback controls are available only if the selected clip contains audio. Adjusting effect properties When you apply an effect, the Effect Controls window opens, listing all the effects that are applied to the currently selected clip. Fixed effects are included with every clip and are listed below the Fixed Effects heading.
Use the Motion effect to position, rotate, or scale a clip within the video frame. To animate clips, you must set keyframes for Motion properties (see “Animating effects by using keyframes” on page 245). Each clip that you add to the Timeline window already has the Motion effect applied because Motion properties are essential to adjusting a clip within the video frame. You can view and adjust these properties by expanding the Motion effect in the Effect Controls window for a selected clip.
• To • To constrain rotations to 45° increments, Shift-drag. create multiple rotations, drag in a circular motion until the clip rotates the number of times you want. Using the Opacity and Volume effects You can adjust opacity or volume for a clip in the Effect Controls window using the same method you would use to set any other effect property (see “About the Effect Controls window” on page 237). In terms of editing, it may be simpler to adjust these effects in the Timeline window.
2 Drag effects to the Favorites bin. A copy of the effect is listed in the Favorites bin. You can create additional Favorites bins, which are numbered. 3 To rename the custom bin, double-click the existing name and type the new name. To remove a Favorites bin: In the Effects window, select a Favorites bin, and click the Delete Custom Items button or choose Delete Custom Items from the Effects window menu. Note: You can remove Favorites bins only from the Effects window.
To remove an effect from a clip: 1 Select the clip in the Timeline window. 2 In the Effect Controls window, select the effect you want to remove, and then do one of the following: • Press Delete or Backspace. • Choose Delete Selected Effect from the Effect Controls menu. Note: You cannot remove Fixed effects, which include Motion, Opacity, and Volume.
When you create a keyframe, you specify the value of an effect property for a specific point in time. When you apply different values to keyframes, Adobe Premiere Pro automatically calculates the values between the keyframes, a process called interpolation. For example, to create a blur that first increases and then decreases over time, you would need to set three keyframes for a blur effect—the first with no blur, the second with the maximum amount of blur, and the third with no blur.
4 Move the current-time indicator to the point in time where you want to add a keyframe. 5 Do one of the following: • Click the Add/Remove Keyframe button. • Adjust the value for the effect property. 6 Repeat steps 4 and 5 as needed. You can change keyframe values in the Timeline window by dragging the Keyframe icons in the clip up or down; however, making incremental changes is more difficult here than in the Effect Controls window. This method works best for Opacity and Volume adjustments.
Using Help | Contents | Index Back 248 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 248 To select a keyframe: Click the Keyframe icon. To select multiple keyframes: Shift-click to select multiple contiguous or noncontiguous keyframes. To select all keyframes for a property: In the Effect Controls window, click the layer property name. For example, click Position to select all the Position keyframes for a layer.
remove all keyframes at once or deactivate keyframes for the effect property. When you deactivate keyframes with the Toggle Animation button, existing keyframes are deleted and no new keyframes can be created until you reactivate keyframes. To delete one or more keyframe: Do one of the following: • Select one or more keyframes and press Delete. • Navigate the current-time indicator to the keyframe and click the Add/Remove Keyframe button.
Working with keyframe interpolation You can change the way an effect is rendered spatially and temporally by using keyframe interpolation methods. Interpolation methods can vary with each keyframe so that a property can accelerate from the starting keyframe and decelerate into the next keyframe. Interpolation methods are particularly useful for changing the speed of motion for an animated clip (see “Manipulating a clip in the Program view” on page 252).
3 Set the current-time indicator to the point in time where you want to add a new keyframe. 4 In the property’s keyframe navigator, click the Add/Delete Keyframe button . If the current-time indicator is after the last keyframe for that property, the new keyframe will have the same value as the preceding keyframe. Otherwise, the new keyframe's value will be an interpolated value based on the previous and next keyframe values.
you set keyframes in step 3. A new Keyframe icon appears in the Effect Controls window at the current-time indicator. Using Help | Contents | Index Back 253 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 253 8 Repeat steps 5 and 6 as needed. When you animate a clip, it can be useful to reduce the Program view’s magnification level. This way, you can see more of the pasteboard area outside the visible area of the screen and can use it to position the clip off screen.
broadcast. If you need to make only minor adjustments to the chrominance and luminance values, you can use the Color Corrector’s Limiter control to set the minimum and maximum values. As the rules for broadcasting limits often vary, check with your broadcaster to make sure that your video meets their requirements. The Color Corrector effect includes several controls that process the image in the order they appear, from top to bottom.
Using the Color Match effect Use the Color Match effect to match the colors in one clip to another clip. For example, if you’re combining shots of a sunny day with shots of a fluorescent-lit office, you may want to remove the green hues in the latter clips. Or if you’re creating graphics for a corporate video, you may need to match them to the colors in the company logo. For a description of the Color Match effect, see “Color Match” on page 265.
Matte, Alpha Adjust Perspective Basic 3D, Bevel Alpha, Bevel Edges, Drop Shadow Pixelate Facet, Crystallize, Pointillize Render Lightning, Ramp, Lens Flare Stylize Alpha Glow, Replicate, Solarize, Color Emboss, Emboss, Find Edges, Mosaic, Noise, Strobe Light, Texturize, Tiles, Wind Time Echo, Posterize Time Transform Camera View, Clip, Edge Feather, Horizontal Flip, Horizontal Hold, Roll, Vertical Flip, Vertical Hold, Crop Video Field Interpolate, Broadcast Colors, Reduce Interlace Flicker For details about
Start Color Shows the current glow color. Click the swatch to choose another color. End Color Lets you add an optional color at the outer edge of the glow. Fade Out Specifies whether the colors fade out or stay solid. Antialias The Antialias effect blends the edges between areas of highly contrasting colors. When blended, colors create intermediate shades that make transitions between dark and light areas appear more gradual.
move the Rate slider all the way to the left for the direction you do not want. ABC Using Help | Contents | Index Back 259 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 259 Width Specifies the wave width. Bevel Alpha The Bevel Alpha effect adds a beveled edge and lights to the alpha boundaries of an image, often giving two-dimensional elements a three-dimensional appearance.
affected by the Broadcast Colors effect at the current settings. If you make your background a contrasting color and temporarily select Key Out Unsafe or Key Out Safe, the background will be visible through affected or unaffected areas of the clip, respectively. An unsafe level simply means that if some portions of your sequence exceed the safe level, they will not look as you intended when viewed on a television monitor.
Fill color Specifies the background color. Fill alpha channel When checked, makes the background transparent (useful if the clip with the effect is superimposed). To access this check box from the Effect Controls window, click Setup. Channel Blur The Channel Blur effect blurs a clip’s red, green, blue, or alpha channels individually. You can specify that the blur is horizontal, vertical, or both.
with a specified background color. Use this effect to trim away noise and pixel skew that may result from overscanning during digitizing. If you want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Crop effect instead of the Clip effect. Left, Top, Right, Bottom Crops each edge of the clip separately. Units Sets the units specified by the sliders, either pixels or the percentage of the frames. Fill Color Specifies the color that replaces the trimmed areas.
an image. Gamma Adjusts midtones without affecting black and white levels. Pedestal Adjusts an image by adding a fixed offset to the image’s pixel values. Use in conjunction with the Gain control. Gain Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. Curves Allows you to adjust the red, green, and blue channels by adding control points to adjust curves on a graphical display. Click to add points; select and click Delete to remove points.
special glasses (one red lens and one blue lens) or to create colored ghosting effects. To produce the appearance of the image dropping back, shift the Red channel to the left a small amount. To bring the image forward, shift the Red channel to the right a small amount. Color Pass The Color Pass effect converts a clip to grayscale, with the exception of a single specified color. Use the Color Pass effect to highlight a particular area of a clip.
4 In the Scale text box, type the value by which to divide the sum of the brightness values of the pixels included in the calculation. 5 In the Offset text box, type the value to be added to the result of the scale calculation. Then click OK. The effect is applied to each pixel in the clip, one at a time. Note: Use the Load and Save buttons in the dialog box to save convolution settings in a separate file, which you can then load for reuse in other instances of the effect.
Since Drop Shadow uses the alpha channel, it works well with 32-bit footage files from drawing programs and three-dimensional rendering programs that support the alpha channel. Note: Because Drop Shadow works best when it is the last effect rendered, apply this effect after applying all other effects.
The Emboss effect sharpens the edges of objects in the image and suppresses colors. The effect also highlights the edges from a specified angle. Direction Specifies the apparent direction in which the highlight source is shining, in degrees. A setting of 45° causes the shadow to be cast in the northeast direction. Relief Specifies the apparent height of the embossing, in pixels. The Relief setting actually controls the maximum width of highlighted edges.
(the middle-gray levels), while leaving the dark and light areas unaffected. The default gamma setting is 1.0. In the effect’s Settings dialog box, you can adjust the gamma from 0.1 to 2.9. Garbage Matte The Garbage Matte effect aids in cropping out extraneous portions of a shot so that you can apply and adjust a key effect more effectively. Gaussian Blur The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both.
way to invert the alpha channel of the image. Blend with Original Combines the inverted image with the original. You can apply a fade to the inverted image. Lens Distortion The Lens Distortion effect simulates a distorted lens through which the clip is viewed. Curvature Changes the curvature of the lens. Specify a negative value to make the image concave, or a positive value to make the image convex. Vertical and Horizontal Decentering Displaces the focal point of the lens, making the image bend and smear.
Segments Specifies the number of segments that form the main lightning bolt. Higher values produce more detail but reduce the smoothness of motion. Amplitude Specifies the size of undulations in the lightning bolt as a percentage of the layer width. Detail Level, Detail Amplitude Specify how much detail is added to the lightning bolt and any branches. For Detail Level, typical values are between 2 and 3. For Detail Amplitude, a typical value is 0.3.
point, changing the movement of the lightning bolt. Blending Mode Specifies how the lightning is added to the layer. Rerun at Each Frame Controls the frame-by-frame generation of the lightning. Selecting this control regenerates the lightning at each frame. To make the lightning behave the same way at the same frame every time you run it, do not select this control. Selecting this control may increase rendering time.
image may not be recognizable). Using Help | Contents | Index Back 274 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 274 Noise Type Randomly changes the red, green, and blue values of the image’s pixels individually when Use Color Noise is selected. Otherwise, the same value is added to all channels. Clipping Determines whether the noise causes pixel colors to wrap around. When the color value of a pixel gets as large as it can be, clipping makes it stay at that value.
Use Level to adjust the number of tonal levels for each channel to which Posterize will map existing colors. Posterize Time The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses. For example, 60-field video footage can be locked to 24 fps (and then field-rendered at 60 fields per second) to give a film-like look. This effect is sometimes called Strobe in hardware devices.
Replicate The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider. RGB Difference Key The RGB Difference Key effect creates transparency by removing pixels from a specified color or range of colors. Select a key color by clicking the Color swatch or by dragging the eyedropper to a color in the Monitor window.
of a second, or a clip’s colors could invert at random intervals. Blend with Original Specifies the intensity, or brightness, of the effect. A value of 0 causes the effect to appear at full intensity; higher values diminish the intensity of the effect. Strobe Duration Specifies in seconds how long a strobe effect lasts. Strobe Period Specifies in seconds the duration between the start of subsequent strobes. For example, if the Strobe Duration is set to 0.1 second and the Strobe Period is set to 1.
Anchor Point Specifies the point, in an x,y coordinate, around which the image will be scaled or skewed. Position Specifies the location, in an x,y coordinate, of the center (anchor point) of the clip. Scale Height Scales height up or down as a percentage of the source clip height. Scale Width Scales width up or down as a percentage of the source clip width. Uniform Scale Scales height and width proportionately. Skew Specifies skew amount. Skew Axis The axis on which the skew is based.
Style Specifies how to displace the pixels in the clip. Pond Ripples displaces pixels to the upper left or lower right; Out from Center displaces pixels toward or away from the center of the clip; Around Center rotates pixels around the center of the clip. Audio effects included with Adobe Premiere Pro Adobe Premiere Pro includes a variety of audio effects designed to alter or enhance the properties of audio clips. Most audio effects are available in multiple versions for mono, stereo, and 5.
to adjust audio. Use either the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view. Gate Cuts off a signal when the level falls below the specified threshold. Use this control to remove unwanted background signals in recordings, such as a background signal in a voiceover. Set the gate to close whenever the speaker stops, thereby removing all other sounds. The LED display colors indicate the gate’s mode: open (green), attack or release (yellow), and closed (red).
bandwidth, and level using multiple bands. The effect includes three fully parametric mid bands, a high band, and a low band. The low and high bands are shelving filters, by default. Gain is constant over frequency. The Cut control switches the low and high band from shelving to cutoff filters. Gain is fixed to –12 dB per octave and is deactivated in cutoff mode. Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view.
exceed to invoke compression. Ratio 1-3 Specifies the rate of compression, up to 8:1. Using Help | Contents | Index Back 283 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 283 Attack 1-3 Specifies the time (between 0.1 and 100 milliseconds) the compressor takes to respond to a signal that exceeds the threshold. Release 1-3 Specifies the time required for the gain to return to the original level when the signal falls below the threshold.
the audio playing in a room. PreDelay Specifies the time between the signal and the reverberation. This setting correlates to the distance a sound travels to the reflecting walls and back to the listener in a live setting. Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view. Absorption Specifies the percentage in which the sound is absorbed. Size Specifies the size of the room as a percentage. Density Specifies the density of the reverb “tail.
Pro. To preview an effect not in this gallery, apply it and preview it in the Monitor window.
that you have enough unused storage for an entire DVD with space to spare. For more information about the process of creating DVDs from Adobe Premiere Pro, see “Requirements for DVD output” on page 291. To export a sequence to DVD: 1 Open the sequence you want to export to DVD. 2 Choose File > Export > Export To DVD. 3 Select the General panel, and select settings. For more information about all of the settings in this dialog box, see “Export-to-DVD settings” on page 290.
Rescan Click to make Adobe Premiere Pro check all connected DVD writers for valid media. The Export To DVD command detects only burners that are connected and turned on at the time you launched Adobe Premiere Pro. If you connected and turned on any burners after that point, they are not recognized until you click Cancel, restart Adobe Premiere Pro, and choose the Export To DVD command again.
asking you to activate, or register, the MPEG encoder that was installed with Adobe Premiere Pro. When this happens, simply follow the directions in the dialog box. You’ll have the option of activating the encoder over the Web or over the telephone. Using Help | Contents | Index Back 292 Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 292 Using Adobe Media Encoder transcode presets Use the Transcode Settings dialog box to manage transcoding presets.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 293 Codec Specifies the compressor/decompressor from those available on your system. Quality Specifies the encoding quality. Higher values increase render time. TV Standard Conforms the output to the NTSC or PAL standard. Aspect Ratio Specifies the output aspect ratio of either 4:3 or 16:9. Frame Rate Displays the output frame rate for either NTSC or PAL formats. Program Sequence Specifies the output scan mode.
Audio Format Displays the audio type of the selected codec. Bit Rate Specifies the output bitrate of the audio. This option is available only for Dolby Digital and MainConcept MPEG Audio codecs. Note: Options not documented here are specific to the selected format. For detailed information, consult the industry specifications for the selected format. To export a preset: 1 Choose File > Export > Adobe Media Encoder. 2 Choose the preset you want to export from the Presets pop-up menu.
To edit Metadata options: Click the Metadata name and specify options in the panel on the right. To make all options blank: Click the triangle next to the Metadata option, and then click Clear Fields. To change the displayed Metadata options: 1 Click the arrow next to the Metadata name to expand it. 2 Click Add/Remove Fields. 3 In the Select Metadata dialog box, do any of the following: • Select the metadata you want to specify. • To add metadata, click New, specify options, and click OK.
later quickly load export settings that you use frequently. Loading saved settings is particularly useful when you create several types of video files (for example, NTSC and Web video) from the same project. To export a sequence as a file using the Adobe Media Encoder: 1 In the Timeline window, activate the sequence you want to export, and choose File > Export > Adobe Media Encoder. 2 Choose an option from the Format menu. 3 Choose an option in the Preset menu.
5 If Editing Mode is set to DV Playback, select the following Export to Tape settings, and then click OK: • Select Play Audio on DV Hardware if you want to hear the sequence’s audio from the output device speaker or audio output jacks. • Select Play Audio on Desktop to hear the audio on your computer’s audio hardware instead of the output device. Note: Only the Export to Tape options affect videotape recording; the Playback options affect editing only. 6 Click OK to close the Project Settings dialog box.
To record a sequence on videotape without device control: 1 Activate the sequence you want to export. 2 Make sure that the sequence plays back on your deck or camera. If it does not, review the steps for preparing a DV program for videotape recording, or see the documentation for your analog device.
file. Also, the application you use to open the AAF file may not support all features. In general, an AAF file dependably translates editing data and commonly used transitions (such as cross-dissolves and wipes) but does not support filters or audio fade and pan information, including audio transitions. To export a project to AAF: 1 Activate the Project window. 2 Choose Project > Export > AAF. 3 Specify the name and location of the file and then click OK.
Premiere Pro numbers the files automatically. To export a series of still images: 1 Choose File > Export > Movie. 2 Click Settings. 3 For File Type, choose a still-image sequence format. If you choose a movie format or Animate GIF, all the frames will be in one file. 4 Choose the frames to export from the Range menu. 5 Click Video, and specify options. 6 Click Keyframe and Rendering, specify options, and then click OK. 7 Specify a location to which you want to export all of the still-image files.
3 For File Type, choose Filmstrip, and choose the frames to export from the Range menu. 4 Click Video, and specify options. 5 Click Keyframe And Rendering, specify options, and then click OK. (For more information on exporting settings, see “Keyframe and Rendering export settings” on page 371.
choose. The following advanced settings options are available for Animated GIF or GIF Sequences: • Dithering: Select to simulate colors that are not available in the Web-safe color palette used by Web browsers. Dithering simulates unavailable colors using patterns that intersperse pixels from available colors. Dithered colors may look coarse and grainy, but dithering generally improves the apparent color range and the appearance of gradations.
program for 8-bit color playback—for example, to match the colors on a Web page or in a presentation. When available, click Palette and then either select Make Palette from Movie to derive a color palette from the frames used in the video program, or select Load Palette Now to import a color palette that you prepared and saved previously. You can load color palettes in the .ACO (Photoshop color swatch), .ACT (Photoshop color palette), or .PAL (Windows palette—Windows only) format.
audio. The codecs available depend on the File Type you specified in the General panel in the Export Settings dialog box. Some file types and capture cards support only uncompressed audio, which has the highest quality, but uses more disk space. Check with your capture card’s documentation before choosing an audio codec. Sample Rate Choose a higher rate for better audio quality in an exported file, or choose a lower rate to reduce processing time and disk-space requirements. CD quality is 44.1 kHz.
Add Keyframes at Markers Select this option to create keyframes only where markers exist in the Timeline window. For this to work, markers must exist in the Timeline window (see “Using markers” on page 123). Add Keyframes at Edits Select this option to create a keyframe at edit points in the Timeline window. Note: Some codecs do not provide control over keyframes. In such codecs, the above options will not be available.
• Will you be superimposing the clips over other clips? If so, preserve alpha channel transparency when exporting from Adobe Premiere Pro. • What is the highest quality compression method that the other software imports? Using high-quality compression limits the degree of compression that can be applied to the video file while retaining quality.
for delivery of final video require significant processing time. You can create MPEG video using the Adobe Media Encoder; any video you export to DVD is automatically transcoded to MPEG if it isn’t already in that form. Using Help | Contents | Index Back 309 Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 309 Animated GIF Animated GIF is best suited for solid-color motion graphics at a small frame size, such as an animated company logo.
Using Help | Contents | Index Back 310 Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 310 DVD production The data rate should maximize quality while fitting the entire program within the space available on the DVD. In Adobe Premiere Pro, by default the DVD data rate is automatically adjusted by the Adobe Media Encoder, which is used by the Export > Export to DVD command.
Using Help | Contents | Index Back 311 Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 311 Choosing compression settings is a balancing act that varies depending on the type of video material, the target delivery format, and the intended audience. Often, the optimal compression setting is arrived at through trial and error.
Result Shortcut Navigate through editable fields Tab Cancel capture Esc Eject E Using Help | Contents | Index Back 314 Adobe Premiere Pro Help Legal Notices Using Help | Contents | Index Back 314 Legal Notices Copyright © 2003 Adobe Systems Incorporated. All rights reserved.
Adobe After Effects alpha channel from 221 exporting to 299 Adobe Audition 78 Adobe Certification program 9 Adobe Encore DVD 127, 289 Adobe GoLive 127 Adobe Illustrator (AI) file format alpha channel from 221 importing as sequence 85 importing as still image 83 Adobe Media Encoder 292 Adobe Photoshop (PSD) file format alpha channel from 221 filmstrip files 302 importing as sequence 84 importing as still image 83 layers 83 ways to import 81 Adobe Premiere Pro Help 4 installing 4 learning resources 8 task lis
clips 240 opacity 224 position 224 rotation 224 Timeline window and 224 animating effects 246 animation, importing 84 Using Help | Contents | Index Back 316 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 316 ABCDEFGHIJKLMNOPQRSTUVWXYZ Antialias effect 258 anti-aliasing 83 Apply Audio Transition command 162 Apply Video Transition command 162, 163 arc tool 200 archiving projects 43 ASIO Settings option 183 aspect ratio 98 See also pixel aspect ratio and frame aspect ratio D4/D16 101 DVD 29
maintaining pitch at different speeds 141 master mix 174 mixing basics 171 MP3 audio format 78 output channels 183 output routing 183, 188 panning 178 preview or playback sample rate 60 processing order 173 sample rate 79 samples 122 selecting tracks for playback 175 sends 188 split edit 177 submixes 183, 187 tracks 173 transitions 176 viewing clips 181 volume in Timeline window 223 WMA format 78 workflow planning 171, 172 Audio command 300 audio export settings 300 Audio Gain command 176 Audio Hardware pre
batch capture settings 74 batch capturing about 72 logging clips 72 recapturing 77 troubleshooting 76 batch lists importing and exporting 76 recapturing using 77 setting up 66 Bend effect 259 Bevel Alpha effect 260 Bevel Edges effect 260 bins about 48 adding and deleting 49 displaying contents 49 effects 243 Favorites 243 bit depth audio 60, 79, 306 color 304 DVD 292 export 304 bitmap logos 204 bitrate encoding 293 Black & White effect 260 Blend effect 260 Blue Screen Key effect 260 Blue Screen key type 229
analog video 64, 94 audio 79 audio settings 79 batch capturing 72 capture cards 97 capture tips 67 Capture window 64 checklists 63 device control 67 DV 64, 94, 96 entire tape 70 file locations 43, 66 logging tips 66 manually 71 tips 66 without device control 71 Using Help | Contents | Index Back 318 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 318 ABCDEFGHIJKLMNOPQRSTUVWXYZ CD.
data rate analysis of 89 deleting 47 deleting space between 146 diagonal warning bars 170 disabling 140 dragging into the Program view 132 dragging to the Timeline window 130 duplicates 47 editing in original application 145 enabling and disabling 140 fading 164 finding the source 145 flipping 261 frame rate 86 freezing a frame 142 grouping 140 importing 63, 81 instances 47 linking video and audio 144 logging 72 masking 168, 233 master 47 moving in a sequence 147, 148 naming and renaming 47 opening in Sourc
Color Emboss effect 265 Color Match effect 256, 265 color matching filter, adjusting with a reference monitor 112 Color Offset effect 265 color palettes 304 Color Pass effect 265 Color Replace effect 266 color safe See vectorscope colors adjusting 262, 263, 279 balance in 254 bit depth 304 correcting 254 guidelines for broadcast video and 254 IRE levels and 254 isolating 265 matching 265 removing 260, 270 replacing 266 combing See video, deinterlacing compact disc audio 78 composite See display mode composi
moving among keyframes 225 moving in the Timeline window 119 curves creating in straight segment 201 drawing with pen tool 201 customer support 9 D D1 footage 102 D4/D16 footage, aspect ratio 101 DAT.
digitizing 92 See also capturing direction lines 201 Directional Blur effect 268 Display Format option 60 display mode 110 Display Only Exact Name Matches button 41 Distort effects category 257 distributing objects 205 documentation overview 8 dominant field 145 dots, creating illusion of 276 downmixing 190 drawing curves with pen tool 201 straight segments 201 drawing tools 200 Drop Shadow effect 268 drop shadows 212 dropped frames identifying clips with 89 preventing 94 Dual View about 108 setting the Mon
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 321 ABCDEFGHIJKLMNOPQRSTUVWXYZ E Easy Curve In/Out interpolation 251 Echo effect 269 edges, highlighting 258, 270 edit decision lists (EDLs) 98 Edit Original command 145 editing about 107 audio lead edit 177 cancelling in Trim window 157 clips in original application 145 clips in the Timeline window 138 deleting space between clips 146 extracting 147 insert edit 128, 132, 149 J-cut edit 177 L-cut edit 177 lift 147 linked clips 144 moving cli
video 257 effects list, Audio Mixer 174, 175 Effects palette 162 ellipse tool 200 Emboss effect 270 Enable command 140 Encore See Adobe Encore DVD EQ effect 283 even field See video fields excluding tracks 116 expanding tracks 115 Export settings Audio 305 General 303 Keyframe and Rendering 306 Video 304 Export to DVD command 289 Export to Tape command 298 exporting Adobe Media Encoder 296 audio settings 305 compression 309 DVD 289 Export command 296, 300 file formats 309 file types for 302 frame size 305 K
fields field order 145 project setting 60 file formats 81, 309 titles 193 files missing 42 offline 42 size limitations 102 temporary 57 Fill Left and Fill Right effects 284 film, appearance of 276 film, motion-picture 59, 98, 311 Filmstrip (FLM) file format 85, 301, 303 Find Edges effect 270 FireWire. See IEEE 1394 Fit to Fill See four-point editing, Fit Clip options 133 5.1 surround audio 5.1 Mixdown Type option 190 channel audio tracks 173 audio preferences 5.1 Mixdown Type 190 surround audio See 5.
G Gain command 175 gain, adjusting 175 Gamma Correction effect 271 ganging 112 Garbage Matte effect 271 Using Help | Contents | Index Back 323 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 323 ABCDEFGHIJKLMNOPQRSTUVWXYZ garbage mattes 233 Gaussian Blur effect 271 Gaussian Sharpen effect 271 General settings 40 Ghosting effect 271 GIF file format See also Animated GIF file format importing 82 GIF sequence 303 Go To In Point button 121 Go To Next Marker button 125 Go To Out Point button 1
Image Mask transition 168 Image Matte key 230 Image Matte Key effect 271 images darkening or lightening 260 importing Adobe Premiere Pro projects 85 animations 84 CD audio 78 clips 81 compressed audio 78 digital audio 78 file formats 81 folders 81, 82 numbered sequences 84 projects 85 sequences 84 still images 82, 83 In and Out points audio sample-based 122 cueing the current time 121 moving 121 removing 121 setting 120 setting split edits 122 using Monitor window controls 120 In Point icon in Trim window 1
keyframe graph 223 keyframes activating 246 adding 224 adjusting 250 animation 306 audio volume 223 copying and pasting 226, 249 deleting 227, 250 displaying 223 editing 222 interpolation methods of 250 navigating 224, 248 opacity 223 removing 224 See also compression keyframes selecting 224, 248 specifying values for 225 summary 250 using 246 viewing 250 keyframes, in compression evaluating data rate for 89 Keying effects category 257 keys See also transparency applying 227, 230 Blue Screen 229 Chroma 228
Link Media command 88 linked clips about 144 editing video and audio individually 145 overriding 144 resynchronizing 144 setting In and Out points 122 unlinking 144 List view columns 51 Load Palette Now option 61 Locate File dialog box 42 Using Help | Contents | Index Back 325 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 325 ABCDEFGHIJKLMNOPQRSTUVWXYZ Lock icon 117 logging clips 66, 70, 72 looping in Trim window 157 Lowpass effect 284 Luma Key effect 274 luminance 111 Luminance key typ
removing 234 track 231 traveling 231 Media Cleaner Export 302 Median effect 274 metadata 295 Meter Input(s) Only command 174 meters, audio 174 Mirror effect 275 missing files 87 mistakes, correcting 44 monitor previewing titles on external 196 Monitor window about 44, 103 choosing Single or Dual view 109 controls 105, 106 customizing 108, 109 magnification 110 quality setting 109 view options 108 monitors, using for previews 159 Mono audio effects category 257 mono audio tracks 173 Mosaic effect 275 Motion
timebase for 59 video levels 111 NTSC safe 111 Numbered Stills option 85 O object style properties, adjusting for text 207 objects about 197 adding strokes for 211 aligning 205 changing opacity of 205 changing position of 205 changing rotation of 205 creating shadows for 212 creating strokes for 211 creating styles for graphics 208 creating styles for text 207 deleting strokes for 211 properties of 207 scaling 205 transforming 205 odd field 145 offline editing 98 offline files 42, 66, 87 online editing 98
palettes grouping 54 menus 45 moving and separating 54 showing and hiding 54 using 45, 53 window menus 45 Pan/balance control 174 panning audio 178 Parametric EQ effect 285 Paste Attributes command 144 Paste command 143, 226 Paste Insert command 143 path text creating 197 path type 198 rotating 199 PCX file format, importing 82 Using Help | Contents | Index Back 327 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 327 ABCDEFGHIJKLMNOPQRSTUVWXYZ pen tool 200, 201, 224, 225 Perspective effec
animating 224 changing in objects 205 Position property adjusting 240 using to animate a clip 252 poster frame 46 Posterize effect 276 Posterize Time effect 276 premultiplication 83 preroll 68 presets projects 40 transcoding 292 preview files 43 previewing on another monitor 159 preview files 158, 160 preview indicator 158 sequences 157, 159 titles 196 Previous Edit button 156 ProcAmp effect 276 program clip 103 Program view about 103 ganging with a reference monitor 112 Program window 45 progressive downlo
starting 40 Properties window 89 properties, clips 89 PSD.
ripple edit tool 152 Ripple effect 278 Roll effect 278 rolling edit 151, 156 rolling edit tool 152, 178 rotating objects 205 path text 199 text boxes 199 rotation adjusting in Effects Controls window 241 editing in Timeline window 225 Rotation property 240 rotoscoping 301 rough cuts, online 98 round-corner rectangle tool 200 rubberband.
characters 198 keyframes 224 text boxes 198 selection tool 150 sends 189 about 188 sends lists 174, 175, 188 sends list 189 sequence opening the source of nested 137 Sequence Zero Point command 114 sequences assembling 127 creating 135 default settings 136 multiple 135 nesting 136, 137 opening in the Source view 136 previewing 157 projects compared to 40 recording to videotape 297, 298, 299 setting the starting time 114 switching 136 tabs 45 timebase 135 toggling between frames and samples 115 viewing a seq
Source menu about 103 Using Help | Contents | Index Back 330 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 330 ABCDEFGHIJKLMNOPQRSTUVWXYZ clearing 104 using to view clips 104 source tracks, specifying 129 Source view 45, 103 Source/Program view See Dual View speed about 140 changing using a duration 141 changing using a percentage 141 changing with the rate stretch tool 141 maintaining audio pitch 141 reversed 141 reversing 141 using keyframes to adjust in a clip 252 Speed command 141 S
replacing style libraries 214 restoring style libraries 214 saving 213 saving style libraries 214 setting default 213 style library, deleting 214 style library, setting default 214 swatches, creating new 213 using 207, 213 Stylize effects category 257 submix (audio) tracks about 173, 187 output 183 subwoofer volume 179 summary keyframes 250 surround audio output channel mappings 183 pan and balance settings 179 Swap Channels effect 286 Switch to Touch After Write command 191 Sync to Timeline button 195 sync
Time effects category 257 time ruler Monitor window 107 using in a reference monitor 113 timebase changing 40 divisions 122 setting for project 59 timecode Audio Mixer display 174 burned-in 92 capturing and 63, 92 entering 65 offset 68 recording at specific 298 replacing 91 setting manually 92 using for efficient capture 89 using in Trim View 156 using in Trim window 156 visual 92 time-lapse 92 timeline diagonal warning bars 170 in Effect Controls window 238 Timeline window about 44, 114 animating in 224 au
viewing marker comments 126 work area bar 159 Track Matte Key effect 279 Track Matte key type 231 track select tool 139, 147 tracks adding, naming, and deleting 117 audio volume 223 customizing views 115 deleting 118 Using Help | Contents | Index Back 332 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 332 ABCDEFGHIJKLMNOPQRSTUVWXYZ display style 115 editing audio 172 excluding 116 expanding and collapsing 115 locking and unlocking 117 removing clips 147 renaming 118 resizing 116 routing
Trim pointer 150 Trim preferences 157 Trim Tail icon 150, 156 Trim window closing 157 looping an edit 157 previewing an edit 157 ripple edit 156 rolling edit 156 setting the large frame offset 157 trimming about 148 in the Timeline window 148 Twirl effect 280 U undo cancelling an edit in Trim window 157 correcting mistakes 44 Ungroup command 140 Uniform Resource Locator 127 Unlink Media command 88 Unlink Video and Audio command 144 unlinking clips 144 URL 127 V vectorscope 112 in a reference monitor 112 v
recording to 297, 299 viewing area bar in the Monitor window 108 in the Timeline window 118, 119 viewing mode in a reference monitor 112 Virtual Studio Technology See VST plug-ins visual timecode 92 voiceovers 79, 182 Volume effect 242, 286 volume, keyframes 223 VST plug-ins 184, 186 VU meters 174 W WAV (Windows Audio Waveform) file format 303 Wave effect 280 waveform monitor about 111 in a reference monitor 112 RGB Parade setting 111 viewing in the Monitor window 111 YCbCr Parade 111 Web content 8 Web lin
