User Guide Chapter 1: Copyright
© 2005 Adobe Systems Incorporated. All rights reserved. Adobe® Premiere® Pro 2.0 User Guide for Windows® If this guide is distributed with software that includes an end user agreement, this guide, as well as the software described in it, is furnished under license and may be used or copied only in accordance with the terms of such license.
iii Contents Chapter 1: Getting started with Adobe Premiere Pro 2.0 Installation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Adobe Help Center Using Help ....................................................................... 2 ................................................................................ 3 Tips, training, and other resources New features ..............................................
iv Playing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Reference Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Chapter 7: Editing a sequence Editing overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v Designing titles for television Adding text to titles Formatting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi Video effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 Chapter 15: Compositing Transparency (masks, alpha channels) Compositing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: Getting started with Adobe Premiere Pro 2.0 Installation and registration To install 1 Close any Adobe® applications that are open. 2 Insert the product disc into your computer’s DVD drive. 3 Double-click the disc icon, and then follow the on-screen instructions. After installing the product for the first time on a computer, you will be prompted to activate your copy of the product. (See “To activate” on page 1.
ADOBE PREMIERE PRO 2.0 2 User Guide See also “Resource Center” on page 6 Adobe Help Center About Adobe Help Center Adobe® Help Center is a free, downloadable application that includes three primary features. Product Help Provides Help for Adobe desktop products installed on your system. (If no Adobe desktop products are installed, topics for them aren’t available.) Help topics are updated periodically and can be downloaded through Adobe Help Center preferences.
ADOBE PREMIERE PRO 2.0 3 User Guide Display Renewal Reminders For Expert Support Contracts Displays reminder screens when your Expert Support plan has almost expired. Deselect this option if you’d like to turn off these reminders. Enable Auto Login For Web Case Submission Allows you to submit support questions over the web. This option is available only if you have an active Expert Support plan. User Interface Language Specifies the language in which Adobe Help Center interface text is displayed.
ADOBE PREMIERE PRO 2.0 4 User Guide Important: Adobe Help systems include all of the information in the printed user guides, plus additional information not included in print. A PDF version of the complete Help content, optimized for printing, is also provided on the CD or DVD in the product box. See also “To navigate Help” on page 4 “To search Help topics” on page 4 To navigate Help ❖ Do any of the following: • To view Help for a product, choose the product name from the For menu.
ADOBE PREMIERE PRO 2.0 5 User Guide Search tips The search feature in Adobe Help Center works by searching the entire Help text for topics that contain any of the words typed in the Search For box. These tips can help you improve your search results in Help: • If you search using a phrase, such as “shape tool,” put quotation marks around the phrase. The search returns only those topics containing all words in the phrase. • Make sure that the search terms are spelled correctly.
ADOBE PREMIERE PRO 2.0 6 User Guide • Support: Complimentary and paid technical support options from Adobe. • “Extras and other downloads” on page 8: Other software and content. See also “About Adobe Help Center” on page 2 “Using Help” on page 3 Total Training Video Workshop DVD Presented by experts in their fields, Total Training videos provide overviews, demonstrations of key new features, and many useful tips and techniques for beginning and advanced users.
ADOBE PREMIERE PRO 2.0 7 User Guide Tips and tutorials in Resource Center For free content and add-ons, visit Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products. To visit Adobe Studio Exchange, go to Resource Center from the home page of the Adobe website.
ADOBE PREMIERE PRO 2.0 8 User Guide • For complete developer documentation and resources, visit the Developers area of the Adobe website at http://partners.adobe.com/public/developer/main.html. For additional backgrounders and instructional content, visit Resource Center. Extras and other downloads Your product includes Adobe Stock Photos, an integrated service available within Adobe Bridge that lets you search, view, try, and buy royalty-free stock photography from leading stock libraries.
ADOBE PREMIERE PRO 2.0 9 User Guide Professional VTR support Control video decks using RS-422 or RS-232 protocols. Feet + frames timecode Display timecode in standard film formats when working with captured film footage. Scrolling Timeline panel Choose how the Timeline panel is displayed during previews. Set the Timeline Playback Auto-Scrolling preference to Smooth Scroll to see the ruler and tracks move past a stationary indicator showing the current playback location.
10 Chapter 2: Workflow and workspace Workflow and workspace basics Workflow overview Whether you’re using Adobe Premiere Pro to edit video for broadcast, DVD, or the web, you’re likely to follow a similar workflow. +3 0 abc abc 1 2 3 -6 4 5 6 7 Premiere Pro workflow 1. Start or open project 2. Capture and import assets 3. Assemble and refine sequence 4. Add titles 5. Add transitions and effects 6. Mix audio 7.
ADOBE PREMIERE PRO 2.0 11 User Guide Using the Capture panel, transfer footage directly from a DV camera or deck. With the proper hardware, you can digitize and capture other formats, from VHS to HDV. Each file you capture to your hard disk automatically becomes a clip in your project. Project panel and Capture panel Using the Project panel, you can import a variety of digital media, including video, audio, and still images.
ADOBE PREMIERE PRO 2.0 12 User Guide Source Monitor, Program Monitor, and Timeline panel You add clips to a sequence in the Timeline panel by dragging or by using controls in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel. You can view the edited sequence in the Program Monitor or watch the full-screen, full-quality video on an attached television monitor.
ADOBE PREMIERE PRO 2.0 13 User Guide Titler Add transitions and effects +3 abc abc -6 The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s opacity and motion, using the Effect Controls panel.The Effect Controls panel also lets you animate a clip’s properties using traditional keyframing techniques.
ADOBE PREMIERE PRO 2.0 14 User Guide Effects and Effect Controls panels Mix audio +3 abc abc -6 For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Adobe Premiere Pro saves your adjustments in real time, on the fly. With the proper sound card, you can record audio through the sound mixer, or mix audio for 5.1 surround sound. (See “Mixing audio tracks and clips” on page 175.
ADOBE PREMIERE PRO 2.0 15 User Guide Audio Mixer Export +3 0 abc abc -6 Deliver your edited sequence in the media of your choice: tape, DVD, or movie file. With the DVD Layout panel, you can produce a DVD complete with navigational menus all from within Adobe Premiere Pro. And using the Adobe Media Encoder, even formats with extensive options—MPEG1, MPEG2, and formats for delivery via the web—are customized to the needs of your viewing audience quickly and easily. (See “About export” on page 370.
ADOBE PREMIERE PRO 2.0 16 User Guide Export Settings dialog box and DVD Layout panel About the Adobe workspace Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Tools, Properties, Timeline, and so on), you move and group panels on your computer screen in the same way across products. The main window of a program is the application window.
ADOBE PREMIERE PRO 2.0 17 User Guide B C A Example of workspace A. Application window B. Grouped panels C. Panels To display menus In addition to choosing from the menus at the top of your screen, you can choose from context menus, which display commands relative to the active tool or selected item. Panel menus display commands relative to the active panel. • To display panel menus, click the triangle in the upper right corner of the panel. • To display context menus, right-click a panel.
ADOBE PREMIERE PRO 2.0 18 User Guide Using tools The Tools panel contains a number of tools for editing sequences in the Timeline panel. When you select a tool, the pointer generally changes shape according to your selection. For example, when you select the Razor tool and position the pointer over a clip in the Timeline panel, the icon changes to a razor. However, the Selection tool icon may change to reflect the task currently being performed.
ADOBE PREMIERE PRO 2.0 19 User Guide A C B Dragging panel (A) onto grouping zone (B) to group it with existing panels (C) To dock or group panels You dock and group panels by dragging them onto drop zones. As you drag a panel over a drop zone, the zone becomes highlighted to provide a visual reference for the drop. Drag the gripper area in the upper left corner of a panel’s tab to move an individual panel. Drag the group gripper at the upper right corner to move an entire group.
ADOBE PREMIERE PRO 2.0 20 User Guide To open a panel in a floating window You can open a panel in a floating window. You can add panels to the floating window or otherwise modify it, as you do the application window. You can use floating windows to create a workspace like those in earlier versions of Adobe applications, or to make use of a secondary monitor.
ADOBE PREMIERE PRO 2.0 21 User Guide To brighten or darken the user interface Adobe Premiere Pro lets you brighten or darken the application’s graphical user interface (GUI). For example, you may prefer to lower the brightness when working in a darkened editing suite or when making color corrections. Changing the brightness preference affects panels, windows, and dialog boxes but doesn’t affect scroll bars, title bars, and menus that aren’t inside panels.
ADOBE PREMIERE PRO 2.0 22 User Guide You can save any workspace, as a custom workspace at any time. Once saved, new and edited workspaces appear in the Workspace menu on the local computer. If a project with a custom workspace is opened on a system other than the one on which it was created, the application looks for a workspace with a matching name.
23 Chapter 3: Projects Project basics About projects A project is a single Adobe Premiere Pro file that contains sequences and references to the assets (clips, still images, and audio files) associated with the sequences. A project stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each special effect.
ADOBE PREMIERE PRO 2.0 24 User Guide Presets are groups of project settings. Adobe Premiere Pro comes with several groups of presets installed: Adobe SD0-SDI, Adobe HD-SDI, Adobe HDV, DV-NTSC, DV-PAL, and DV-24P. These contain the correct project settings for the most typical project types. When creating a new project, you can either select from among the standard presets or customize a group of project settings and save the customized group as a custom preset.
ADOBE PREMIERE PRO 2.0 25 User Guide General settings Choose General settings that conform to the specifications of the dominant source files in your project (for example, if most of your footage is DV, use the DV Playback editing mode). Changing these settings arbitrarily may result in a loss of quality.
ADOBE PREMIERE PRO 2.0 26 User Guide • 30 fps Non Drop-Frame Timecode Reports time in hours, minutes, seconds, and frames, separating units with colons. It assumes a rate of 30 frames per second and does not drop frame numbers. Use for output to computer displays via the web or CD-ROM. 30 fps non drop-frame Timecode as indicated by colons • 24 fps Timecode Reports time in hours, minutes, seconds, and frames; separating units with colons.
ADOBE PREMIERE PRO 2.0 27 User Guide Action Safe Area Specifies how much of the frame edge to mark as a safe zone for action so that action isn’t cut off by televisions that zoom the picture slightly to enlarge it. A rectangle marks the action-safe zone when you click the Safe Margins button in the Source Monitor or Program Monitor. Sample Rate In general, higher rates provide better audio quality when you play back audio in sequences, but they require more disk space and processing.
ADOBE PREMIERE PRO 2.0 28 User Guide 3 Select Open. To locate missing files Adobe Premiere Pro doesn’t store video, audio, or still image files in the project file—it stores only a reference to each of these files based on its file name and location at the time you imported it. If you later move, rename, or delete a source file, Adobe Premiere Pro can’t find it automatically the next time you open the project. In this case, Adobe Premiere Pro displays the Where Is The File dialog box.
ADOBE PREMIERE PRO 2.0 29 User Guide • To save a copy of a project but continue working in the original project, choose File > Save a Copy, specify a location and file name, and click Save. Note: There’s no need to save copies of a project when creating different segments or versions of the same video program. Simply create new or duplicate sequences within a single project file.
ADOBE PREMIERE PRO 2.0 30 User Guide 4 16 3 9 A 4:3 frame aspect ratio (left), and wider 16:9 frame aspect ratio (right) When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you must decide how to reconcile the different values. For example, there are two common techniques for showing a widescreen movie with a 16:9 frame aspect ratio on a standard television with a 4:3 frame aspect ratio.
ADOBE PREMIERE PRO 2.0 31 User Guide Pixel aspect ratio Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. Pixel aspect ratios vary because different video systems make various assumptions about the number of pixels required to fill a frame. For example, many computer video standards define a 4:3 aspect ratio frame as 640 pixels wide by 480 pixels high, which results in square pixels.
ADOBE PREMIERE PRO 2.0 32 User Guide It is always a good idea to make sure that files are interpreted correctly. You can read an asset’s frame dimensions and pixel aspect ratio near the preview thumbnail and in the Video Info column of the Project panel. You can also find this data in the asset’s Properties dialog box, the Interpret Footage dialog box, and the Info panel.
ADOBE PREMIERE PRO 2.0 33 User Guide About square-pixel footage Many graphics and animation programs generate square-pixel assets meant for display on square-pixel computer monitors. Adobe Premiere Pro, however, typically generates files with non-square pixels for display on television sets. Adobe Premiere Pro automatically conforms square-pixel assets to the project’s pixel aspect ratio. After the asset is conformed, however, it no longer has its original frame aspect ratio.
ADOBE PREMIERE PRO 2.0 34 User Guide Common pixel aspect ratios for assets Common pixel aspect ratios for assets Asset Pixel aspect ratio When to use Square pixels 1.0 Your footage has a 640 x 480 or 648 x 486 frame size, is 1920 x 1080 HD (not HDV or DVCPRO HD), is 1280 x 720 HD or HDV, or was exported from an application that doesn’t support nonsquare pixels. This setting can also be appropriate for footage that was transferred from film or for customized projects. D1/DV NTSC 0.
ADOBE PREMIERE PRO 2.0 35 User Guide Working with the 24P modes is useful when you intend to author a progressive scan DVD. Because Adobe Premiere Pro recognizes 24P modes, you can perform your capture and edits within the program. Then, you can use the Adobe Media Encoder to export the file from Adobe Premiere Pro. After you export the file, you can open it in Adobe Encore DVD, author your DVD, and then simultaneously export the project and burn it to DVD as a 24P MPEG-2 stream.
ADOBE PREMIERE PRO 2.0 36 User Guide About 24P timecode When you import 24P footage, Adobe Premiere Pro treats it as 23.976 fps progressive scan footage. Because of this, when you work with 24P footage in a 24P project, the timecode is displayed as 24 fps. However, the camera records and logs 24P footage in 30 fps nondrop-frame timecode. When you log 24P footage for capture, you log clips according to the camera’s timecode count of 30 fps nondrop-frame timecode.
ADOBE PREMIERE PRO 2.0 37 User Guide Media Cache Files created by the Media Cache feature, including conformed audio files, PEK audio files and video index files (for MPEG). DVD Encoding Files created when you export movies to a DVD folder. To specify scratch disks You set up scratch disks in the Scratch Disk pane of the Preferences dialog box. Before changing scratch disk settings, you can verify the amount of free disk space on the selected volume by looking in the box to the right of the path.
ADOBE PREMIERE PRO 2.0 38 User Guide Correcting mistakes To correct mistakes In case you change your mind or make a mistake, Adobe Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window. ❖ Do one of the following: • To undo the most recent change, choose Edit > Undo.
ADOBE PREMIERE PRO 2.0 39 User Guide To work with the History panel ❖ Do any of the following: • To select a state, click the name of the state in the History panel. • To navigate in the History panel, drag the panel’s slider or scroll bar; or choose Step Forward or Step Backward from the panel menu. • To delete a project state, select the state. Then choose Delete from the panel menu or click the Delete icon and click OK; alternatively, Alt-click the Delete icon.
40 Chapter 4: Adobe Bridge The basics of Bridge About Adobe Bridge Adobe Bridge is a cross-platform application provided with Adobe Creative Suite and Adobe Production Studio. You can use Bridge to organize, browse, and locate the assets you need to create content for print, the web, television, DVD, film, and mobile devices. Bridge keeps native Adobe files (such as PSD and PDF) as well as non-Adobe application files available for easy access.
ADOBE PREMIERE PRO 2.0 41 User Guide The Favorites panel Gives you quick access to folders as well as to Adobe Stock Photos and collections. If you have Adobe Creative Suite 2, you also have access to Version Cue and Bridge Center. The Folders panel Shows the folder hierarchy. Use it to navigate to the correct folder. The Preview panel Displays a preview of the selected file. The preview is separate from, and typically larger than, the thumbnail image displayed in the content area.
ADOBE PREMIERE PRO 2.0 42 User Guide By default, the Compact mode Bridge window floats on top of all windows. (In Full mode, the Bridge window can move behind application windows.) This floating window is useful because it is always visible and usable as you work in different applications. For instance, you might use Compact mode after you select the files you plan to use, and then drag them into the application as needed. 1 Click the Switch To Compact Mode button .
ADOBE PREMIERE PRO 2.0 43 User Guide To save and delete Bridge workspaces You can save the current Bridge layout (that is, the work area configuration) as a workspace and reuse it later. By saving Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign® files.
ADOBE PREMIERE PRO 2.0 44 User Guide Additional Lines Of Thumbnail Metadata Specifies whether to show additional metadata information with thumb- nails in the content area. If you select this option, you can choose the type of metadata to show from the associated menu. You can display up to three extra lines of information. Favorites Items Specifies what items to show in the Favorites panel. Certain options are dimmed if you do not have those items.
ADOBE PREMIERE PRO 2.0 45 User Guide Purge Central Cache Clears the entire centralized cache and any distributed cache in the currently viewed folder, freeing room on the hard drive. The command does not otherwise clear local caches. Export Cache Exports the cache, allowing you to burn a CD with the cache already generated. Because the folder cache is written into the folder, the thumbnail cache and metadata cache are available after you burn the CD.
ADOBE PREMIERE PRO 2.0 46 User Guide • Show Hidden Files to display hidden files, such as cache files and Version Cue files that have been provisionally removed (not permanently deleted) from Version Cue projects. • Show Folders to display folders as well as individual files. • Show All Files to display all files regardless of type, even non-Adobe files that Bridge doesn’t normally display. • Show Graphic Files Only to display only files in graphic file formats, such as EPS, JPEG, BMP, PS, TIFF, and GIF.
ADOBE PREMIERE PRO 2.0 47 User Guide • Press Enter (Windows) or Return (Mac OS). • Double-click the file in the content area or Preview panel. • Choose File > Open With, followed by the name of the application with which to open the file. • Drag the file into the working area of an application, such as an open Illustrator document. • Drag the file onto the application icon. • Choose File > Open In Camera Raw to edit the Adobe camera raw settings for the file.
ADOBE PREMIERE PRO 2.0 48 User Guide Drag a file or folder onto the Preview panel to display the contents of the folder in Bridge. To manage folders with Bridge ❖ Do any of the following: To create new folders Choose File > New Folder. Then, enter a name when the folder appears in the content area. To delete folders Select the folder and press Delete. To add folders to Favorites Choose a folder from the Look In menu or Folders panel or select it in the content area. Then choose File > Add To Favorites.
ADOBE PREMIERE PRO 2.0 49 User Guide To rate files with Bridge When assigning ratings to files, you can award from zero to five stars. Using the View > Sort menu or Unfilter button, you can choose to view files according to their rating. For example, suppose you’ve just imported a large number of images and are viewing them in Bridge. As you review each new image, you can rate them from best to worst. After this initial pass, you can view only files you’ve rated with four or five stars and work on those.
ADOBE PREMIERE PRO 2.0 50 User Guide To search with criteria saved as collections If you saved search criteria by using the Save As Collection option in the Find dialog box, you can run that search again by using that collection. 1 Select Collections in the Favorites panel or Look In menu. 2 Double-click the collection you want. A new Bridge window appears containing the results of the search.
ADOBE PREMIERE PRO 2.0 51 User Guide Note: If you choose Sequence Number, enter a number. The number is automatically incremented for each file named. • Select Preserve Current File Name In XMP Metadata if you want to retain the original file name in the metadata. • For Compatibility, select the operating systems with which you want renamed files to be compatible. The current operating system is selected by default, and cannot be deselected.
ADOBE PREMIERE PRO 2.0 52 User Guide IPTC Core Displays editable metadata. You can add captions to your files as well as copyright information. IPTC Core is a new specification that was approved by IPTC (International Press Telecommunications Council) in October 2004. It differs from the older IPTC (IIM, legacy) in that new properties have been added, some property names have changed, and some properties have been deleted.
ADOBE PREMIERE PRO 2.0 53 User Guide To specify the metadata displayed in the Metadata panel 1 Do one of the following: • Choose Preferences from the Metadata panel menu. • Choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS), and then click Metadata from the list on the left side of the dialog box. 2 Select the metadata fields that you want to display in the Metadata panel. 3 Select the Hide Empty Fields option if you don’t want to view fields with no information in them. 4 Click OK.
ADOBE PREMIERE PRO 2.0 54 User Guide Origin Lets you enter file information that is useful for news outlets, including when and where the file was created, transmission information, special instructions for handling the file, and headline information. You can also choose text from the menu to the right of the text fields. Advanced Displays fields and structures for storing metadata using namespaces and properties, such as file format and XMP, EXIF, and PDF properties.
ADOBE PREMIERE PRO 2.0 55 User Guide • Replace Metadata, followed by the name of the template. This command completely replaces any existing metadata in the file with the metadata in the template. To apply keywords to files with Bridge The Keyword panel lets you create and apply Bridge keywords to files. Keywords can be organized into categories called keyword sets. Using keywords, you identify files based on their content. Later, you can view all files with shared keywords as a group.
ADOBE PREMIERE PRO 2.0 56 User Guide Adobe Stock Photos About Adobe Stock Photos Adobe Stock Photos lets you view, try, and buy royalty-free images from leading stock libraries. With Adobe Stock Photos, you won’t have to interrupt your design process to find quality images. Instead, from inside your favorite applications, you can use the powerful search capabilities of Adobe Stock Photos to find and download images. From Bridge, the Favorites pane gives you quick access to these stock images.
ADOBE PREMIERE PRO 2.0 57 User Guide All thumbnails from recent searches are saved on your computer. Having the thumbnails available offline is helpful if you want to browse through the images when your computer isn’t connected to the Internet. However, the thumbnails do take up some space on your hard drive.
ADOBE PREMIERE PRO 2.0 58 User Guide 2 In the text box at the top of the screen, type the word or phrase that describes the subject of the photos you want to search for. 3 In the search results, click a photo to select it. 4 Do one of the following: • Click the Get Price & Keywords button. • Right-click the image (Windows) and choose Get Price & Keywords from the menu. 5 When the Price & Keywords dialog box appears, select keywords under Keywords For This Image.
ADOBE PREMIERE PRO 2.0 59 User Guide Comp images About comp images Comp images are free, nonwatermarked, low-resolution versions of stock photos that you can download. You can use comps to capture a feeling, idea, or concept before choosing the final image for a project. Comps are not licensed for production, but you can use them in mock-ups or other preliminary work. Because comps are low-resolution images, they’re not suitable for printing or publishing.
ADOBE PREMIERE PRO 2.0 60 User Guide Adobe Stock Photos maintains a secure site, and you can rest assured that your personal information is kept in strict confidence. Any information you enter is used only for Adobe Stock Photos purposes. To view your photos, click Purchased Images in the Favorites pane, or navigate to the default Stock Photos folder: My Documents/AdobeStockPhotos (Windows) or Documents/AdobeStockPhotos (Mac OS).
ADOBE PREMIERE PRO 2.0 61 User Guide 11 To view the receipt for your purchase, in the Thank You page click View Receipt. You can also monitor the progress of the download by clicking Open Download Status. When you finish, click Find More Images if you want to find new photos, or click Go To Your Account. If you have been working with a comp version of the image you purchased, you need to replace the comp with the high-resolution image in your art.
ADOBE PREMIERE PRO 2.0 62 User Guide To create a Stock Photos account 1 In Adobe Stock Photos, do one of the following: • Click the Your Account button , and then click the Continue button under Set Up An Account. • If you have photos in the shopping cart, click the Shopping Cart icon, and then click Checkout. Click Set Up An Account. 2 If you haven’t chosen your billing country, you see a dialog box with a list of countries. Choose the country of your billing address and click Continue.
ADOBE PREMIERE PRO 2.0 63 User Guide 4 Do any of the following: • To change the nickname associated with the default address, type a new name in the Billing Address Nickname text box. • Type any changes to the default address in the text boxes. • To add a new address to your account, click Add New Address, and then enter the information in the text boxes. • To edit a non-default address, click Edit under the address, and make any changes.
ADOBE PREMIERE PRO 2.0 64 User Guide To set Adobe Stock Photos preferences 1 In Adobe Bridge, choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS). 2 Select Adobe Stock Photos from the list on the left. 3 Set any of the following preferences, and then click OK: Thumbnails Per Search Group To set how many thumbnail images are displayed in a search group, choose an option from the Thumbnails Per Search Group menu.
65 Chapter 5: Capturing, digitizing, and importing Collecting assets About capturing, digitizing, and importing To bring media files (assets) into an Adobe Premiere Pro project, you can capture, digitize, or import them, depending on the type of source material: Capture You capture digital video files from tape. That is, you transfer them from the source videotape to the hard drive.
ADOBE PREMIERE PRO 2.0 66 User Guide A B C D E Capture panel A. Status area B. Preview C. Tabs D. Panel menu E. Device controls To set the capture format 1 With a project open, choose Project > Project Settings > Capture. 2 From the Capture Format menu, choose the settings that match your source material. To set capture preferences 1 Choose Edit > Preferences > Capture. 2 Specify whether you want to cancel capture on dropped frames, report dropped frames, or generate a batch log file.
ADOBE PREMIERE PRO 2.0 67 User Guide Supported file formats for import Adobe Premiere Pro can import a number of video and audio formats. It also supports 10-bit color depth, necessary for editing standard and high-definition footage. File format support is provided by plug-in software modules. Most of these software modules are installed automatically with Adobe Premiere Pro.
ADOBE PREMIERE PRO 2.0 68 User Guide • PICT, PIC, PCT • Portable Network Graphics (PNG) • PTL, PRTL (Adobe Title Designer) • Targa (TGA, ICB, VDA, VST) • TIFF • PSQ Note: You can import layered Illustrator and Photoshop files as sequences. Supported video project file formats You can import any of the following types of video project files: • Adobe Premiere 6.0 or 6.
ADOBE PREMIERE PRO 2.0 69 User Guide 2 Select one or more of the Capture options. If you are using a device controller that generates its own timecode (for example, a LANC controller for a Hi8 camcorder), select Use Device Control Timecode. This replaces the unreadable timecode recorded on the tape with the controller’s timecode. Click OK. 3 If you want captured clips to be saved to a specific bin in a project, make sure that the project is open and that the bin exists in the Project panel.
ADOBE PREMIERE PRO 2.0 70 User Guide 5 In the Device Control section of the Settings pane, specify the following options as needed: Preroll Time Indicates how much before the In point Adobe Premiere Pro starts playing the tape before capture. The appropriate value varies depending on the device you are using. Timecode Offset Indicates the number of frames to adjust the timecode embedded in the captured video so that it corresponds with the timecode number of the same frame on the source tape.
ADOBE PREMIERE PRO 2.0 71 User Guide Capturing and digitizing System requirements for capturing To capture digital video footage, your editing system needs the following components: • For DV or HDV footage, either an OHCI-compliant IEEE 1394 (FireWire, iLink) port or capture card, or a non-OHCI-compliant IEEE 1394 capture card with presets, drivers, and plug-ins written specifically for Adobe Premiere Pro. • For HD footage, an Adobe Premiere Pro-compliant HD capture card with an SDI input.
ADOBE PREMIERE PRO 2.0 72 User Guide To capture without device control If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture video manually. You have to operate both the playback device controls and the Capture panel controls in Adobe Premiere Pro. 1 Make sure that the deck or camcorder is properly connected to your computer. 2 Choose File > Capture. 3 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu.
ADOBE PREMIERE PRO 2.0 73 User Guide 6 Click the In/Out button in the Capture area of the Logging pane to capture the clip you’ve identified. See also “To set up a project for device control” on page 68 “To set up a device for device control” on page 69 To use automatic scene detection Instead of manually logging In and Out points, you can use the Scene Detect feature.
ADOBE PREMIERE PRO 2.0 74 User Guide To determine if your device is online 1 Select File > Capture. 2 In the Device Control area of the Settings pane, click Options. 3 In the Options dialog box, click Check Status. Digitizing analog video In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer.
ADOBE PREMIERE PRO 2.0 75 User Guide 5 Turn on both devices. 6 If the digital device is a camcorder, put it into VTR or VCR (not Camera) mode. 7 Set the input selection control on the digital device to the correct analog input. 8 Start Adobe Premiere Pro. 9 When the Welcome screen appears, do one of the following: • Click New Project, select the capture card’s preset (if available) from the Load Preset pane, and click OK. • Select an existing project that was set up with the capture card’s preset.
ADOBE PREMIERE PRO 2.0 76 User Guide 2 If you want to preview the Timeline panel as you record, position the current-time indicator in the Timeline panel a few seconds before the time when you want the voice-over to begin. 3 In the Audio Mixer, click the Record Enable button for any tracks on which you want to record audio. A B Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer 4 In the Audio Mixer, click the Record button for the sequence.
ADOBE PREMIERE PRO 2.0 77 User Guide 4 In the Audio Mixer, click the Record button for the sequence. Adobe Premiere Pro prepares the sequence for recording but moves the playhead only when you press the Play button. 5 Select Meter Input(s) Only in the Audio Mixer panel menu to meter only your sound card’s inputs. 6 Test the input levels by playing a selection from the analog source.
ADOBE PREMIERE PRO 2.0 78 User Guide A B Preparing for batch capturing A. Clips selected for capture B. Capture Settings option See also “About device control” on page 68 To log clips for batch capturing You can specify which shots you want to use from source tapes by logging them as a set of offline files for later capture.
ADOBE PREMIERE PRO 2.0 79 User Guide Capture panel with Logging active To log clips interactively 1 Make sure that your device is connected and in VTR or VCR (not Camera) mode, and then choose File > Capture. 2 In the Logging pane, enter the settings you want to use as the defaults for Setup and Clip Data. 3 Play the tape. Click Set In or Set Out at any time, even as the tape plays. Repeat as necessary.
ADOBE PREMIERE PRO 2.0 80 User Guide Specifying batch-capture settings A batch list of logged clips appears as a list of offline files in the Project panel. If you plan to capture many clips, you may want to create bins in the Project panel in advance so that you can log each set of offline clips directly into its own bin. When you batch capture, the offline files are replaced by captured clips, maintaining the bin organization you set up in advance. You can capture audio and video to separate drives.
ADOBE PREMIERE PRO 2.0 81 User Guide 5 If you want to stop batch capturing, click the Stop button in the Capture panel, or press the Esc key. Troubleshooting batch capturing You can perform trouble-free batch capturing if device control and the project’s capture settings are set up properly and if the offline files you logged are consistent and free of conflicting data.
ADOBE PREMIERE PRO 2.0 82 User Guide Offline files An offline file is a placeholder for a source file that isn’t currently available on disk. Offline files contain information about the missing source files they represent, and they give you flexibility when actual files are not available. If an offline file appears in the Timeline panel, “Media Offline” appears in the Program Monitor and in the track.
ADOBE PREMIERE PRO 2.0 83 User Guide Note: If you selected more than one offline file, the Attach Which Media dialog box appears in turn for each file you selected. Pay attention to the offline file name in the title bar of the dialog box so that you relink the correct source file to each offline file. To convert an online file to offline 1 In the Project panel, select one or more online files. 2 Choose Project > Make Offline.
ADOBE PREMIERE PRO 2.0 84 User Guide To ensure that you always shoot continuous timecode, record at least 5 seconds of extra video past the end of the action in any shot. If you review a clip in the camera, be sure to rewind the tape back into that 5-second margin before recording again. Your camcorder reads the timecode from the frame on which you stop and begins recording timecode with the very next frame number when you start your next shot.
ADOBE PREMIERE PRO 2.0 85 User Guide Note: Scene Detect recognizes the starting and stopping points for each shot by looking for jumps in the timestamps. Because copying a tape this way creates a single clip with a continuous timestamp, you can’t use Scene Detect when you capture the copy in Adobe Premiere Pro. Capturing timecode The timecode of source video is captured when you use device control. Timecode capture with controllable analog devices depends on the precision of your tape deck.
ADOBE PREMIERE PRO 2.0 86 User Guide Online and offline editing About online and offline editing For online editing, you capture clips at the level of quality required for the final version of the video program. This is the default method of working in Adobe Premiere Pro. Online editing works well when the speed and storage capacity of the host computer are adequate to the demands of the video formats used. For example, most modern computers can handle the datarate of DV in full resolution.
ADOBE PREMIERE PRO 2.0 87 User Guide If you import a file and it appears horizontally or vertically distorted (stretched), its pixel aspect ratio may not be interpreted correctly. Change the pixel aspect ratio for the file if necessary. Adobe Premiere Pro continuously rasterizes EPS images, so you can scale these files without pixelation. • To import clips, choose File > Import. Locate and select a file, or hold down Control and select multiple files. Click Open.
ADOBE PREMIERE PRO 2.0 88 User Guide Importing still images You can import still images with frame sizes up to 4096 x 4096 pixels, individually or in groups. The size and aspect ratio of imported still images are affected by the same factors that affect other imported assets, for example, whether they use square pixels. An imported still image uses the duration specified in the Still Image preferences. You can change the duration of a still image in a Sequence panel.
ADOBE PREMIERE PRO 2.0 89 User Guide Importing Illustrator images You can import an Adobe Illustrator still-image file directly into an Adobe Premiere Pro project. Adobe Premiere Pro converts path-based Illustrator art into the pixel-based image format used by Adobe Premiere Pro, a process known as rasterization. Adobe Premiere Pro automatically anti-aliases, or smooths, edges of the Illustrator art.
ADOBE PREMIERE PRO 2.0 90 User Guide For best results, create files with a frame size at least as large as the frame size of the project so that you don’t have to scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project. For example, if you plan to scale up an image 200%, prepare the image at double the project frame size before you import it.
ADOBE PREMIERE PRO 2.0 91 User Guide Importing libraries Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file. Although Adobe Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files. A library converts to a bin when you import it into an Adobe Premiere Pro project.
92 Chapter 6: Managing and viewing assets Customizing the Project panel To change Project panel views After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset. You can customize the information it displays to meet the needs of your project. A B Project panel views A. List view B.
ADOBE PREMIERE PRO 2.0 93 User Guide 2 Select the name of the column after which the new column will appear, and click Add. 3 Type a name. 4 Choose a type. Text columns can contain any text you enter. Boolean columns provide a check box. Click OK. To customize List view columns The columns in the Project panel’s List view tell various things about the assets listed. You can select which columns Adobe Premiere Pro will display, rename columns, and change their order.
ADOBE PREMIERE PRO 2.0 94 User Guide Video Usage The number of times the video component of an asset is used in the project’s sequences. Audio Usage The number of times the audio component of an asset is used in the project’s sequences. Tape Name The name of the source tape, as entered when the clip was logged or captured. Description Optional description of the asset, entered when the clip was logged or captured.
ADOBE PREMIERE PRO 2.0 95 User Guide A B Project panel A. Parent bin B. Child bin To work with bins • To add a bin, click the New Bin button at the bottom of the Project panel. • To delete one or more bins, select the bins and click the Delete icon at the bottom of the Project panel. If you click New Bin multiple times in a row, each new bin is nested inside the previous new bin. • To move an item into a bin, drag the item to the Bin icon. You can move bins into other bins to nest them.
ADOBE PREMIERE PRO 2.0 96 User Guide Working with assets About clip properties Adobe Premiere Pro includes clip analysis tools that you can use to evaluate a file in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a web server, you can use clip analysis tools to determine whether a clip you exported has an appropriate data rate for Internet distribution. The Properties feature provides detailed information about any clip.
ADOBE PREMIERE PRO 2.0 97 User Guide You can also rename a selected clip by clicking its name once to select the text, typing the new name, and pressing Enter. In addition, the Rename command is available when you right-click a clip. To rename an original source file ❖ Quit Adobe Premiere Pro and rename the file on the Windows desktop. The next time you open the project, Adobe Premiere Pro asks you to locate the file. To remove an item from the Project panel ❖ Select the item and press the Delete key.
ADOBE PREMIERE PRO 2.0 98 User Guide 2 Choose File > Interpret Footage, select a Frame Rate option, and click OK. Source and Program Monitors About the Source and Program Monitors The Source Monitor plays back individual clips. In the Source Monitor you prepare clips that you want to add to a sequence by specifying In and Out points and the clip’s source tracks (audio or video). You can also insert clip markers and add clips to a sequence in the Timeline panel.
ADOBE PREMIERE PRO 2.0 99 User Guide Choosing a clip to view from the Source menu 2 To clear a clip from the Source monitor, in the Source menu, choose Close to clear or Close All to clear all clips. You can also close the current clip by clicking the Close button in the Source Monitor tab. Source and Program Monitor time controls The Source Monitor has several controls for moving through time (or frames) in a clip. The Program Monitor contains similar controls for moving through a sequence.
ADOBE PREMIERE PRO 2.0 100 User Guide tuted. When no Out point is set, the Source Monitor uses the ending time of the clip to calculate duration, and the Program Monitor uses the ending time of the last clip in the sequence to calculate duration. Viewing area bars Correspond with the visible area of the time ruler in each monitor. They are the thin bars with curved handles above each time ruler. You can drag the handles to change the width of the bar and thereby change the scale of the time ruler below.
ADOBE PREMIERE PRO 2.0 101 User Guide To change magnification The Source and Program Monitors scale video to fit into the available area. 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). 1 Choose a magnification setting from the View Zoom Level menu (to the right of the current time display) in the Source or Program Monitor.
ADOBE PREMIERE PRO 2.0 102 User Guide To use the waveform monitor and vectorscope displays most effectively, view them in a reference monitor that is ganged to the Program Monitor. See “To gang the Reference Monitor and Program Monitor” on page 105. See also “About the vectorscope and waveform monitors” on page 279 Playing assets To play video in the Source and Program Monitors The Source and Program Monitors contain several controls that resemble the playback controls on a video deck.
ADOBE PREMIERE PRO 2.0 103 User Guide To move to a different frame in a time ruler Note: When using keyboard shortcuts to move in a time ruler, make sure the panel you want is active. ❖ Do any of the following: • Click the current time display of the monitor you want to cue, and type the new time. You don’t need to type colons or semicolons. Numbers under 100 are interpreted as frames. (See “To move the current-time indicator using timecode” on page 109.
ADOBE PREMIERE PRO 2.0 104 User Guide To match a frame While editing in the Timeline panel, you might locate a frame in a sequence clip that you want to display in the Source Monitor. ❖ In the Timeline panel, position the current-time indicator over the desired frame in a clip and double-click the clip. Note: If the sequence clip is already open in the Source Monitor or listed in the Source menu, the clip will display the last frame you viewed in the clip.
ADOBE PREMIERE PRO 2.0 105 User Guide To gang the Reference Monitor and Program Monitor You can gang the Reference Monitor and the Program Monitor so that changes in the edit point of one are reflected in the other. ❖ Do one of the following: • In the Reference Monitor, click the Gang button . • In the Reference Monitor’s panel menu, choose Gang To Program Monitor. • In the Program Monitor’s panel menu, choose Gang To Reference Monitor.
106 Chapter 7: Editing a sequence Editing overview Assembling and editing a sequence You create your program in Adobe Premiere Pro by assembling clips into a sequence. The workflow you choose depends on your preferences and the needs of your project. Here is a common editing workflow: 1. View and trim source clips in the Source Monitor. Use the Source Monitor to view clips that you’ve captured and added to your project.
ADOBE PREMIERE PRO 2.0 107 User Guide For a tutorial on trimming clips, go to Resource Center on the Adobe website. Adobe periodically provides updates to software and Help. To check for updates, click the Open Preferences Dialog button in Adobe Help Center, and then click Check For Updates. Follow the on-screen instructions. Source clips, clip instances, and subclips You can use clips as source clips, clip instances, subclips, or duplicate clips.
ADOBE PREMIERE PRO 2.0 108 User Guide Sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing. Multiple audio tracks are used to mix audio. You can specify the type of audio channels supported by each audio track and decide how they are sent to a Master audio track. To achieve even greater control over the mixing process, you can create submix tracks.
ADOBE PREMIERE PRO 2.0 109 User Guide See also “To play video in the Source and Program Monitors” on page 102 To position the current time in the Timeline panel ❖ Do any of the following: • In the time ruler, drag the current-time indicator or click where you want to position the current-time indicator. • Drag in the current time display. • Click in the current time display, type a valid time, and press Enter. (See “To move the current-time indicator using timecode” on page 109.
ADOBE PREMIERE PRO 2.0 110 User Guide To zoom out in the Timeline panel ❖ Do one of the following: • Select the Zoom tool , and then Alt-click an area in the Timeline panel. • Drag the zoom slider to the left, or click the Zoom Out button . • Drag the ends of the viewing area bar farther apart. To navigate the Timeline panel by screenfuls ❖ With the Timeline panel active, press the Up Arrow key to move left and the Down Arrow key to move right.
ADOBE PREMIERE PRO 2.0 111 User Guide 2 Right-click the clip containing the keyframe properties you want to view. Choose Show Clip Keyframes, and then choose the effect containing the keyframes you want to view. To set a sequence’s starting time By default, each sequence’s time ruler starts at zero and measures time according to the video frame count you specified in the project settings. However, you can change the starting time of the sequence’s time ruler.
ADOBE PREMIERE PRO 2.0 112 User Guide Show Name Only Displays the name of audio clips without waveforms. Note: For information about viewing and adjusting keyframes in video and audio tracks, see “Displaying keyframes in the Timeline panel” on page 232. To resize the track header section ❖ Position the pointer over the right edge of the track header (where track names are listed) so that the resize icon appears, and then drag the right edge.
ADOBE PREMIERE PRO 2.0 113 User Guide To add tracks New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel. Note: You can add any number of tracks, limited only by your system’s resources. 1 With the Timeline panel active, choose Sequence > Add Tracks.
ADOBE PREMIERE PRO 2.0 114 User Guide You can perform trimming tasks to a range of selected clips or grouped clips just as you would a single clip. The range or group acts as a single clip; you can trim its outer edges (the In point of the first clip and the Out point of the last clip), but not the interior edges (the In and Out points of each clip in the selected range or group). To fine-tune trim edits in a sequence, you can open the Trim Monitor.
ADOBE PREMIERE PRO 2.0 115 User Guide Viewing In and Out frames simultaneously in the Source Monitor To cue to an In or Out point You use the Source Monitor to cue a frame for a clip and the Program Monitor to cue the current frame for a sequence. ❖ Do one of the following: • To cue the current time to an In point, click the Go To In Point button To cue the current time to an Out point, click the Go To Out Point button • To cue the current time to an Out point, click the Go To Out Point button . . .
ADOBE PREMIERE PRO 2.0 116 User Guide About insert and overlay edits An overlay edit adds a clip by replacing any frames already in a sequence starting from the edit point and extending for the length of the clip. Overlay is the default method when dragging a clip to a sequence or when rearranging clips in a sequence. Adding a clip by overlaying existing clips With an insert edit, adding a clip to the sequence forces any clips later in time to shift forward to accommodate the new clip.
ADOBE PREMIERE PRO 2.0 117 User Guide Take Video Includes video only in the sequence. Take Audio Includes audio only in the sequence. Note: Specifying a source track affects a clip only while adding it to a sequence. It doesn’t change the state of clips or their source media. Targeting tracks A sequence may contain several video and audio tracks. When you add a clip to a sequence, you need to specify which tracks it should occupy.
ADOBE PREMIERE PRO 2.0 118 User Guide To insert a clip and not shift clips in other tracks, Ctrl-Alt-drag the clip into the track. You can drag video clips to any video track; however, you can drag audio clips only to a compatible audio track. Audio clips can’t be added to the master audio track or submix tracks, and they can be placed only on audio tracks of the matching channel type: mono, stereo, or 5.1 (see “About audio tracks in a sequence” on page 173).
ADOBE PREMIERE PRO 2.0 119 User Guide Note: You can also drag or Ctrl-drag a clip into the Program Monitor to overlay or insert a clip. Make sure the track you want is targeted in the Timeline panel and the current-time indicator is at the location you want to add the clip in the sequence. To prevent an insert edit from shifting clips in another track, lock the track.
ADOBE PREMIERE PRO 2.0 120 User Guide In a three-point edit, you mark either two In points and one Out point, or two Out points and one In point. You don’t have to actively set the fourth point; it’s inferred by the other three. For example, in a typical three-point edit you would specify the starting and ending frames of the source clip (the source In and Out points), and when you want the clip to begin in the sequence (the sequence In point).
ADOBE PREMIERE PRO 2.0 121 User Guide Trim Clip’s Head (Left Side) Automatically changes the source clip’s In point so that its duration matches the duration determined by the sequence In and Out points. Trim Clip’s Tail (Right Side) Automatically changes the source clip’s Out point so that its duration matches the duration determined by the sequence In and Out points. Ignore Sequence In Point Disregards the sequence In point you set, and performs a three-point edit.
ADOBE PREMIERE PRO 2.0 122 User Guide Apply Default Video Transition Places the default transition (defined in the Effects panel) at each edit. This option is available only when the Placement option is set to Sequentially, and has no effect when the Clip Overlap option is set to zero. Ignore Audio Ignores the audio in clips selected to be automated to the sequence.
ADOBE PREMIERE PRO 2.0 123 User Guide Program Monitor during a ripple or rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence. Pressing Alt when you begin to perform a rolling edit ignores the link between video and audio (known as an L-cut or J-cut).
ADOBE PREMIERE PRO 2.0 124 User Guide See also “Using the Trim Monitor” on page 126 To perform a rolling edit 1 Select the Rolling Edit tool . 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 panel during (above) and after (below) a rolling edit To perform a ripple edit • Select the Ripple Edit tool .
ADOBE PREMIERE PRO 2.0 125 User Guide Program Monitor during a slip or slide edit Note: Though Slip and Slide tools are typically employed on the center of three adjacent clips, each tool functions normally even if the clip is adjacent to a clip on one side and blank space on the other. A slip edit shifts a clip’s In and Out points forward or backward by the same number of frames in a single action.
ADOBE PREMIERE PRO 2.0 126 User Guide 2 Position the pointer on the clip you want to adjust, and drag left to move the In and Out points earlier in the clip, or drag right to move the In and Out points later in the clip. Adobe Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration. To perform a slide edit 1 Select the Slide tool .
ADOBE PREMIERE PRO 2.0 127 User Guide 2 Do any of the following: • Position the pointer in the left or right image so that it becomes the Trim-out icon or Trim-in icon respec- tively, and drag left or right to ripple-edit the corresponding clip. • Drag the timecode display under the left or right image to trim the corresponding clip. • Drag the left or right jog disk to trim the corresponding clip.
ADOBE PREMIERE PRO 2.0 128 User Guide 2 Do one of the following: • To change duration numerically, choose Clip > Speed/Duration, click the link button to unlink speed and duration, type a new duration, and click OK. • To change duration visually in the Timeline panel, 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.
ADOBE PREMIERE PRO 2.0 129 User Guide To change a clip’s speed using the Rate Stretch tool You can change a clip’s speed to fit a duration. ❖ Select the Rate Stretch tool , and drag either edge of a clip in the Timeline panel. Changing clip speed using the Rate Stretch tool To blend frames for smooth motion Motion in a clip may appear jerky when you change the speed of a clip, or output to a different frame rate.
ADOBE PREMIERE PRO 2.0 130 User Guide Each interlaced video frame consists of two fields. Each field contains half the number of horizontal lines in the frame; the upper field (or Field 1) contains all of the odd-numbered lines, and the lower field (or Field 2) contains all of the even-numbered lines. An interlaced video monitor displays each frame by first drawing all of the lines in one field and then drawing all of the lines in the other field. Field order specifies which field is drawn first.
ADOBE PREMIERE PRO 2.0 131 User Guide Another unwanted effect can arise from inadvertently reversing the field dominance, or the order in which the fields are recorded and displayed. When the field dominance is reversed, motion appears jerky because the fields no longer appear chronologically. Fields can become reversed in the following situations: • The field dominance of the original videotape was the opposite of the field dominance of the video-capture card used to capture the clip.
ADOBE PREMIERE PRO 2.0 132 User Guide To select one or more clips When you want to perform an action that affects a clip as a whole, such as applying an effect, deleting a clip, or moving a clip in time, first select the clip in the Timeline panel. The toolbox contains selection tools that can handle various selection tasks. ❖ Do any of the following: • To select a single clip, use the Selection tool and click a clip in the Timeline panel.
ADOBE PREMIERE PRO 2.0 133 User Guide 4 Do one of the following: • To overlay the pasted clips, choose Edit > Paste. • To insert the pasted clips, choose Edit > Paste Insert. To enable or disable a clip You can disable a clip while you try out a different editing idea, or to shorten processing time when working on a complex projects. Disabled clips do not appear in the Program Monitor or in a preview or video file that you export.
ADOBE PREMIERE PRO 2.0 134 User Guide To enable and disable the snap feature To make it easier to align clips with one another or with particular points in time, you can activate the snap feature. When you move a clip with snap on, it automatically aligns with, or snaps to the edge of another clip, to a marker, to the start and end of the time ruler, or to the current-time indicator. Snapping also helps to ensure you don’t inadvertently perform an insert or overlay edit when dragging.
ADOBE PREMIERE PRO 2.0 135 User Guide To lift frames Lifting removes frames from a sequence and leaves a gap of the same duration as the frames you remove. ❖ Do one of the following: • To remove entire clips, select one or more clips in the sequence and press the Delete key. • To remove a range of frames, use controls in the Program Monitor to specify sequence In and Out points, and click the Lift button .
ADOBE PREMIERE PRO 2.0 136 User Guide • To lift and insert, drag one or more clips, and press Ctrl as you release the mouse button and drop the clip or clips into a new location. • To extract and overlay, Ctrl-drag one or more clips, and release Ctrl before you release the mouse button and drop the clip or clips into a new location. • To extract and insert, Ctrl-drag one or more clips, and press Ctrl as you release the mouse button and drop the clip or clips into a new location.
ADOBE PREMIERE PRO 2.0 137 User Guide When you set the Program Monitor’s Quality setting to Automatic, Adobe Premiere Pro dynamically adjusts video quality and frame rate in order to preview the sequence in real time. During particularly complex sections of the sequence, or when using a system with inadequate resources, the playback quality 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.
ADOBE PREMIERE PRO 2.0 138 User Guide • Position the current-time indicator, and press Alt+[ to set the beginning of the work area. • Position the current-time indicator, and press Alt+] to set the end of the work area. • Alt-click the work area bar to resize it to the width of all contiguous clips under the point you click. • Double-click the work area bar to resize it to either the width of the time ruler, or the length of the entire sequence, whichever is shorter.
ADOBE PREMIERE PRO 2.0 139 User Guide Desktop Audio Sets audio playback to the computer External Device Audio Sets audio playback to a connected external audio device. Export: External Device Enables export to tape for the specified device. This option doesn’t affect playback to an external device during export. 24p Conversion Method Specifies the conversion method for 24p footage. See “To set 24P playback options” on page 35. Desktop Display Mode Sets option for playback through a graphics display card.
140 Chapter 8: Editing: Beyond the basics Using markers About markers Markers indicate important points in time and help you position and arrange clips. You could use a marker to identify an important action or sound in a sequence. Markers are only for reference and do not alter the video. You can also use sequence markers to specify chapters for DVD or QuickTime movies, or to specify a URL to send a user to a web page.
ADOBE PREMIERE PRO 2.0 141 User Guide 2 Click the Set Unnumbered Marker button in the Program Monitor or the Timeline panel Set Unnumbered Marker button to open the Marker dialog box as you set it.) . (Double-click the You can also drag a marker from the Timeline panel’s marker button to any point in the time ruler. To insert unnumbered markers while a clip or sequence plays, press the asterisk key (*) on the numeric keypad whenever you want to insert a marker.
ADOBE PREMIERE PRO 2.0 142 User Guide Note: Sequence markers in a nested sequence appear as clip markers (with a slightly different color) in the parent sequence and in the Source Monitor. To adjust a nested marker, open the nested sequence in the Timeline panel, and then drag the marker. To delete a marker 1 Do one of the following: • To delete a clip marker, select the clip in the sequence, and cue the current-time indicator to the clip marker.
ADOBE PREMIERE PRO 2.0 143 User Guide You can open the Marker dialog box when you set the marker by double-clicking the Set Unnumbered Marker button in the Timeline panel. 2 Set any of the following options: Comments Type a message you want associated with the marker. Duration Drag the duration value or click the value to highlight it, type a new value, and press Enter. Chapter Enter the chapter name and number. URL Enter the address of the web page you want to open.
ADOBE PREMIERE PRO 2.0 144 User Guide Source Monitor set to display audio units for more precise editing of an audio clip To use audio samples in the Source or Program Monitor ❖ In the Source or Program Monitor panel menu, choose Audio Units. To use audio samples in the Timeline panel 1 In the Timeline panel menu, choose Audio Units. The time rulers in the Timeline panel and Program Monitor switch from a frame-based to a sample-based scale.
ADOBE PREMIERE PRO 2.0 145 User Guide Ordinarily, all editing functions act on both parts of a linked clip, and both are affected when you select, trim, split, delete, move, nudge, or change the duration or speed of either its video or audio. To affect only the video or audio, you can temporarily override the link by pressing the Alt key when you initiate these editing tasks. After you perform the task, however, the link is restored.
ADOBE PREMIERE PRO 2.0 146 User Guide To create a split edit 1 If necessary, click the triangle to the left of each track name to expand the audio tracks you want to adjust. 2 Select one of the clips involved in the split edit, and choose Clip > Unlink. Repeat for the other clip. 3 Select the Rolling Edit tool from the toolbox. 4 Starting at the audio edit point between the two clips, drag left or right.
ADOBE PREMIERE PRO 2.0 147 User Guide To create color bars and a 1-kHz tone You can create a one-second clip containing color bars and a 1-kHz tone, as a reference for calibrating video and audio equipment. ❖ In the Project panel, click the New Item button at the bottom of the Project panel and choose Bars And Tone from the menu that appears. Note: Some audio workflows must be calibrated at a specific tone level. The default level of the 1-kHz tone is 012 dB referenced to 0 dBfs.
ADOBE PREMIERE PRO 2.0 148 User Guide 2 In the New Sequence dialog box, specify the following options: Sequence Name Enter a descriptive name for the sequence. Video Type the number of video tracks you want the sequence to contain, or click the up and down arrows to change the number. Master Choose an option from the pop-up menu to specify whether you want the Master audio track to be mono, stereo, or 5.1.
ADOBE PREMIERE PRO 2.0 149 User Guide • You can set a nested sequence’s In and Out points as you would other clips. Subsequently changing the source sequence’s duration, however, does not affect the duration of existing nested instances. To lengthen the nested instances and reveal material added to the source sequence, use standard trimming methods.
ADOBE PREMIERE PRO 2.0 150 User Guide To create a subclip You can create a subclip from source clips or other subclips that are made up of a single media file. You cannot create subclips from sequences, but you can create subclips from titles and stills. 1 Open a source clip in the Source Monitor. Open the clip from the Project panel; you can’t create a subclip from a clip instance. 2 Set In and Out points for the subclip.
ADOBE PREMIERE PRO 2.0 151 User Guide 1. Add clips from multiple cameras to a sequence. Stack the clips from each camera on separate tracks of a sequence. (See “To add clips for multi-camera editing” on page 152.) 2. Synchronize the clips in the sequence. Mark the sync point with numbered clip markers, or reassign the sync point for each camera to a specific timecode. (See “To synchronize clips” on page 152.) 3. Create the multi-camera target sequence. The final edits are made in a target sequence.
ADOBE PREMIERE PRO 2.0 152 User Guide A B D E C F Multi-camera Monitor A. Camera 1 B. Camera 2 C. Recorded sequence preview D. Camera 3 E. Camera 4 F. Record button The Multi-Camera Monitor includes the standard playback and transport controls and keyboard shortcuts. The Play Around button plays the sequence in the preview display, including any preroll and postroll frames specified in General Preferences.
ADOBE PREMIERE PRO 2.0 153 User Guide Note: Adobe Premiere Pro uses an overlay edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track. 1 Select the clips you want to synchronize. 2 Target a track (by clicking its track header) to align the other clips to it. For example, if you synchronize clips on their Out point, the end of each clip aligns with the Out point of the targeted track.
ADOBE PREMIERE PRO 2.0 154 User Guide You can switch cameras using a keyboard shortcut. The 1, 2, 3, and 4 keys correspond to each camera. 6 When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it. The target sequence is updated to show the edit points where each camera switch occurs. Camera 1 is the default track in the target sequence.
ADOBE PREMIERE PRO 2.0 155 User Guide To insert or overlay clips in a multi-camera sequence You can make edits to a multi-camera sequence from the original four camera clips. For example, if one camera recorded a presenter and another recorded a screen of presentation slides, you can intersperse shots of the presentation slides. You can use this technique as an alternative to rerecording sections of the multi-camera sequence.
ADOBE PREMIERE PRO 2.0 156 User Guide To copy and paste between Adobe After Effects and Adobe Premiere Pro Copying between After Effects and Adobe Premiere Pro (Windows only) You can copy and paste layers and assets between Adobe After Effects and Adobe Premiere Pro: • From After Effects, you can copy footage or solid layers and paste them into an Adobe Premiere Pro sequence. • From Adobe Premiere Pro, you can copy assets (any item in a track) and paste them into an After Effects compo- sition.
ADOBE PREMIERE PRO 2.0 157 User Guide After Effects item Converted to in Adobe Premiere Notes Pro Time Stretch property Speed property Layer-time markers Not converted Blending modes Not converted Speed and time stretch have an inverse relationship. For example, 200% stretch in After Effects converts to 50% speed in Adobe Premiere Pro. To copy from After Effects to Adobe Premiere Pro (Windows only) 1 Start Adobe Premiere Pro (you must do this before you copy the layer in After Effects).
ADOBE PREMIERE PRO 2.0 158 User Guide Adobe Premiere Pro asset Converted to in After Effects Notes Volume and Channel Volume audio filters Stereo mixer effect Other audio filters are not converted. Speed property Time Stretch property Speed and time stretch have an inverse relationship. For example, 50% speed in Adobe Premiere Pro is converted to 200% stretch in After Effects.
ADOBE PREMIERE PRO 2.0 159 User Guide When you link to an After Effects composition, it appears in the target product’s Project panel. You can use the linked composition as you would any other asset. When you insert a linked composition into the target product’s timeline, a linked clip, which is simply a reference to the linked composition in the Project panel, appears in the Timeline panel. After Effects renders the linked composition on a frame-by-frame basis during playback in the target product.
ADOBE PREMIERE PRO 2.0 160 User Guide Color and Adobe Dynamic Link (Adobe Production Studio only) Adobe After Effects works in the RGB (red, green, blue) color space. Adobe Premiere Pro, however, works in the YUV color space. When you work with a dynamically linked composition, Adobe Premiere Pro either converts it to YUV or retains the RGB color space, depending on the output format.
ADOBE PREMIERE PRO 2.0 161 User Guide Adobe Encore DVD and After Effects: If you are linking to DVD menus or buttons, turn off subpicture highlight layers in After Effects so that you can control their display in Adobe Encore DVD. For more information, search for “subpicture” in Adobe Encore DVD Help or Adobe After Effects Help.
ADOBE PREMIERE PRO 2.0 162 User Guide To take a dynamically linked composition offline (Adobe Production Studio only) You can take a dynamically linked composition offline if system resources are low, preventing you from smoothly playing back or previewing, or if you want to share your project without having to open it on a system with Production Studio installed.
163 Chapter 9: Transitions Transition overview About transitions A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but in some cases you might want to transition between shots by phasing out one and phasing in another. Adobe Premiere Pro provides several transitions that you can apply to your sequence. A transition can be a subtle crossfade or a stylized effect, such as a page turn or spinning pinwheel.
ADOBE PREMIERE PRO 2.0 164 User Guide Clip handles and transitions In most cases, you don’t want a transition to occur during the essential action in a scene. For this reason, transitions work best with handles—the extra frames beyond the In and Out points set for the clip. The handle between a clip’s Media Start time and In point is sometimes called head material, and the handle between a clip’s Out point and Media End time is sometimes called tail material. A B C D E F A clip with handles A.
ADOBE PREMIERE PRO 2.0 165 User Guide Single-sided transitions fade to and from a transparent state, not to and from black. Whatever is below the transition in the Timeline panel appears in the transparent portion of the transition (the portion of the effect that would display frames from the adjacent clip in a two-sided transition). If the clip is on Video 1 or has no clips beneath it, the transparent portions display black.
ADOBE PREMIERE PRO 2.0 166 User Guide • If neither clip contains trimmed frames, the transition automatically centers over the cut and repeats the last frame of the first clip and the first frame of the second clip to fill the transition duration. Diagonal bars appear on transitions that use repeated frames. • If only the first clip contains trimmed frames, the transition automatically snaps to the In point of the next clip.
ADOBE PREMIERE PRO 2.0 167 User Guide 2 Position the current-time indicator at the edit point where the two clips meet. You can use the Next Edit and Previous Edit buttons in the Program Monitor. 3 Choose Sequence > Apply Video Transition or Sequence > Apply Audio Transition, depending on the target track. To specify a default transition 1 Choose Window > Effects and expand the Video Transitions or Audio Transitions bin. 2 Select the transition that you want to make the default.
ADOBE PREMIERE PRO 2.0 168 User Guide A G H B I C D J E F Effect Controls panel A. Play The Transition button B. Transition preview C. Edge selector D. Clip previews E. Start and End sliders F. Options G. Clip A (first clip) H. Transition I. Clip B (second clip) J. Current-time indicator • To open the transition in the Effects control panel, click the transition in the Timeline panel. • To show or hide the time ruler in the Effect Controls panel, click the Show/Hide Timeline View button .
ADOBE PREMIERE PRO 2.0 169 User Guide Dragging the transition in the Timeline panel to reposition it To align a transition using the Effect Controls panel 1 Double-click the transition in the Timeline panel to open the Effect Controls panel. 2 If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button panel.
ADOBE PREMIERE PRO 2.0 170 User Guide 3 In the Effect Controls time ruler, position the pointer over the transition, placing it on the thin vertical line that marks the cut. The pointer changes from the Slide Transition icon icon to the Ripple Edit icon . 4 Drag the cut as desired. (You can’t move the cut beyond either end of the clip.) Changing transition duration You can edit a transition’s duration in either the Timeline panel or the Effect Controls panel.
ADOBE PREMIERE PRO 2.0 171 User Guide Default center (left) and repositioned center (right) To change transition settings 1 In the Timeline panel, click a transition to select it. 2 In the Effect Controls panel, adjust settings: Edge selectors Change 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.
ADOBE PREMIERE PRO 2.0 172 User Guide To preview the transition, drag the current-time indicator through the transition in the Timeline panel. To create a Gradient Wipe transition Adobe Premiere Pro can use a grayscale image as a gradient wipe. In a 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.
173 Chapter 10: Audio Working with audio About audio In Adobe Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.1 surround channels. To work with audio in Premiere Pro, you must first import it into your project or record it directly to a track. You can import audio clips or video clips that contain audio.
ADOBE PREMIERE PRO 2.0 174 User Guide Sequence audio can contain two kinds of tracks. Regular audio tracks contain actual audio. Submix tracks output the combined signals of tracks routed to it. Submix tracks are useful for managing mixes and effects. Although each sequence is created with a default number of audio tracks in the Timeline panel, Adobe Premiere Pro automatically creates new audio tracks as needed.
ADOBE PREMIERE PRO 2.0 175 User Guide See also “To show or hide audio waveforms in an audio track” on page 111 “To break out the channels in an audio clip” on page 181 “Mapping audio channels” on page 180 Mixing audio tracks and clips Mixing is blending and adjusting the sounds that comprise audio in a sequence. A sequence can contain many audio clips on one or more audio tracks. Actions you perform when mixing audio can be applied at various levels within a sequence.
ADOBE PREMIERE PRO 2.0 176 User Guide Audio Mixer A B C Audio Mixer A. Tracks area B. Controls area C. Playback controls In the Audio Mixer, you can adjust settings while listening to audio tracks and viewing video tracks. Each Audio Mixer track corresponds to a track in the timeline of the active sequence and displays the timeline’s audio tracks in an audio console layout. Each track is labeled near the top of the Audio Mixer, and you can rename a track by double-clicking its name.
ADOBE PREMIERE PRO 2.0 177 User Guide A B C D E F Audio mixer playback controls A. Go To In Point B. Go To Out Point C. Play/Stop Toggle D. Play In To Out E. Loop F. Record A separate audio meters panel can be opened and docked anywhere in your workspace for constant audio monitoring even when the full Audio Mixer isn’t visible or when the Master Fader section is scrolled out of view. The audio meters panel mirrors the audio display of the Audio Mixer’s Master Meters.
ADOBE PREMIERE PRO 2.0 178 User Guide To monitor specific tracks in the Audio Mixer ❖ Click the Solo Track button for the corresponding tracks. Only the tracks with the Solo Track button enabled are monitored during playback. Note: You can also silence a track using the Mute Track button. However, use the Timeline Speaker icon for controlling which tracks to hear during editing, and reserve the Mute Track button for automated control.
ADOBE PREMIERE PRO 2.0 179 User Guide To see more volume detail when viewing an audio waveform in the Timeline panel, increase the track height. To see more time detail, view time in audio units. Making quick audio adjustments Although Adobe Premiere Pro includes a full-featured audio mixer, there are times when you 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.
ADOBE PREMIERE PRO 2.0 180 User Guide Mapping audio channels You can define how a clip’s audio is mapped to channels and audio tracks when the clip is added to a sequence or viewed in the Source Monitor. Mapping is applied to clips in the Project panel using the Source Channel Mappings command. You can apply the command to multiple master clips.
ADOBE PREMIERE PRO 2.0 181 User Guide • To preview the audio in a channel, select the source channel and click the Playback button or use the slider. 3 Click OK to apply the source channel mappings to the clip’s audio. Track formats for mapping source audio channels Mono Maps the source audio channels so that they are placed on separate mono audio tracks when the clip is added to a sequence. You can apply the Mono track format to clips containing any number of audio channels.
ADOBE PREMIERE PRO 2.0 182 User Guide 3 In the Source Channel Mappings dialog box, select Mono As Stereo. Important: You can apply the Source Channel Mappings command to a mono clip only in the Project panel, before the clip appears in the Timeline panel. You can’t convert a clip instance to stereo when it’s used in a mono audio track. Linking multiple audio clips In Adobe Premiere Pro, you can link one video clip to multiple audio clips or link multiple audio clips together.
ADOBE PREMIERE PRO 2.0 183 User Guide Effects applied to the audio tracks in a multi-clip link displayed in the Effect Controls. See also “Linking video and audio clips in the Timeline panel” on page 144 “To edit a multi-clip link in the Source Monitor” on page 183 To link audio clips in the Timeline panel In the Timeline panel, you can link multiple audio clips to one video clip, or you can link multiple audio clips to each other.
ADOBE PREMIERE PRO 2.0 184 User Guide • For a multi-clip link from the Timeline panel, specifying the In and Out points for a specific track applies the same amount of trimming to the In and Out points of the other linked tracks. The In and Out points of linked tracks with different durations will be different. The In and Out points of linked clips are the same only if they have identical durations.
ADOBE PREMIERE PRO 2.0 185 User Guide 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. ASIO Settings Specifies the ASIO settings for the selected device. The settings in this dialog box are set by the device and driver you are using, not by Adobe Premiere Pro. See the documentation for the ASIO device and driver you are using.
ADOBE PREMIERE PRO 2.0 186 User Guide 2 Select the Mute Input During Timeline Recording option. Audio output mapping Using the Audio Output Mapping preferences, you can specify how each device channel corresponds to an Adobe Premiere Pro audio output channel. The Stereo and 5.1 columns correspond to the number of channels (outputs) in the current sequence’s master audio track, which you specify when you create a sequence.
ADOBE PREMIERE PRO 2.0 187 User Guide You control track levels in the Audio Mixer or the Timeline panel. Although you control track levels primarily through the Audio Mixer, you can also do so using audio track keyframes in the Timeline panel. Because track keyframes represent mixer automation settings, they affect output only when automation is set to Read, Touch, or Latch.
ADOBE PREMIERE PRO 2.0 188 User Guide See also “Working with keyframes” on page 230 “Adjusting gain and volume” on page 186 To adjust the volume in the Effect Controls panel 1 Select an audio clip in a sequence. 2 In the Effect Controls panel, click the triangle next to Volume to expand the effect. 3 Do any of the following: • Enter a value for the level. A negative value decreases the volume level and a positive value increases the volume level. A value of 0.
ADOBE PREMIERE PRO 2.0 189 User Guide Audio transitions Working with audio transitions Adobe Premiere Pro lets you apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. Adobe Premiere Pro includes two types of crossfade: Constant Gain and Constant Power. The Constant Gain crossfade changes audio at a constant rate in and out as it transitions between clips.
ADOBE PREMIERE PRO 2.0 190 User Guide To adjust or customize an audio transition ❖ Do any of the following: • To edit an audio transition, double-click the transition in the Timeline panel and adjust the transition in the Effect Controls panel. • To customize the rate of an audio fade or crossfade, adjust the clip’s audio volume keyframe graph instead of applying a transition.
ADOBE PREMIERE PRO 2.0 191 User Guide See also “Downmixing to fewer channels” on page 195 “Working with submixes” on page 192 Panning and balancing in the Audio Mixer The Audio Mixer provides controls for panning and balancing. A round knob appears when a mono or stereo track outputs to a stereo track. You rotate the knob to pan or balance audio between the left and right output track channels. A square tray appears when a mono or stereo track outputs to a 5.1 surround track.
ADOBE PREMIERE PRO 2.0 192 User Guide To pan or balance a track routed to a stereo track ❖ In the Audio Mixer, do one of the following: • Drag the pan control knob or the value below the knob. • Click the value below the pan control knob, type a new value, and press Enter. To pan or balance a track routed to a 5.1 surround track 1 In the Audio Mixer, click and drag the puck anywhere within the tray.
ADOBE PREMIERE PRO 2.0 193 User Guide To create a submix in the Timeline panel 1 Choose Sequence > Add Tracks. 2 Specify options in the Audio Submix Tracks section, and then click OK. To simultaneously create a submix and assign a send 1 If necessary, display the effects/sends panel in the Audio Mixer by clicking the triangle to the left of an automation option’s pop-up menu. 2 Choose Create Mono Submix, Create Stereo Submix, or Create 5.
ADOBE PREMIERE PRO 2.0 194 User Guide To send a track to a submix 1 (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer. 2 In the Effects And Sends panel, do one of the following: • To send to an existing submix, click a Send Assignment Selection triangle and choose a submix name from the pop-up menu.
ADOBE PREMIERE PRO 2.0 195 User Guide Choosing from the Selected Parameter menu 4 Change the value of the property using the control knob above the send assignment properties menu at the bottom of the sends list. To work with sends 1 (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer.
ADOBE PREMIERE PRO 2.0 196 User Guide Note: If you want to preserve the integrity of left/right channel assignments, you may want to avoid using downmix options that include the LFE channel. Routing track output By default, track output is routed to the master track. You can also route the complete track signal to a submix track or master track by using the Track Output Assignment pop-up menu at the bottom of each track in the Audio Mixer.
ADOBE PREMIERE PRO 2.0 197 User Guide Applying audio effects in the Audio Mixer In the Audio Mixer, track effect options are controlled after an effect is selected in the Effects And Sends panel. If the Effects and Sends panel is not visible, you can display it by clicking the Show/Hide Effects And Sends triangle on the left side of the Audio Mixer. The Effects And Sends panel contains Effect Selection pop-up menus to apply up to five track effects.
ADOBE PREMIERE PRO 2.0 198 User Guide Consider planning the order of track effects before applying them because you can’t drag an effect to a different position in the Effects And Sends panel. 3 If needed, choose the effect parameter you want to edit from the pop-up menu at the bottom of the Effects And Sends panel. 4 Use the controls above the parameter pop-up menu to adjust the effect options.
ADOBE PREMIERE PRO 2.0 199 User Guide If you previously installed a VST-compatible application other than Adobe Premiere Pro, Adobe Premiere Pro finds VST effects in the VST folder that already exists. If no other VST-compatible applications are installed, Adobe Premiere Pro creates a folder called VST in the Program Files folder. Inside the Plug-ins folder of the Adobe Premiere Pro application folder, there is also a VST folder with plug-ins that are used only by Adobe Premiere Pro.
ADOBE PREMIERE PRO 2.0 200 User Guide For each audio track, the selection in the automation options menu determines the track’s automation state during the mixing process: Off Ignores the track’s stored settings during playback. Off allows real-time use of Audio Mixer controls without interference from stored automation settings. Read Reads the track’s automation settings and uses them to control the track during playback.
ADOBE PREMIERE PRO 2.0 201 User Guide To preserve a track property during Write automation ❖ In the Effects And Sends panel for a track, right-click an effect or send and choose Safe During Write from the pop-up menu. Note: Use the Audio Mixer to automate track properties only, not clip properties. You can edit clip keyframes by selecting the clip and using the Effect Controls panel or Timeline panel.
ADOBE PREMIERE PRO 2.0 202 User Guide When applying the Edit In Audition command to clips in a sequence, the audio is rendered in a new audio clip that is edited in Adobe Audition. The edited clip replaces the original clip in the Timeline panel; the original master clip in the Project panel is untouched. Effects or markers applied to the original sequence clip are preserved in the edited clip. It’s possible to edit the audio in Adobe Audition multiple times.
203 Chapter 11: Using the Titler Creating titles About the Titler You can design custom titles and logos with the Adobe Premiere Pro Titler feature. Titles are a valuable addition to a movie and can serve many purposes, from naming the people and places in your movie to providing movie-style credits at the beginning and end. You can create titles using any font installed on your computer, and other graphic objects using the Titler’s shape creation tools.
ADOBE PREMIERE PRO 2.0 204 User Guide About titles You can open the Titler and start a new title using a menu command or the Project Panel’s New Item button. You can load more than one title into the Titler panel, and you can choose the one you want to view by choosing its name in the panel menu. (Click the down-pointing triangle in the Titler tab to open the panel menu.) When you save a title, Adobe Premiere Pro adds it to the active bin in the Project panel automatically.
ADOBE PREMIERE PRO 2.0 205 User Guide Note: In addition to importing Adobe Premiere Pro titles with the .prtl extension, you can import titles with the .ptl extension, created in Adobe Premiere Elements and earlier versions of Adobe Premiere. The imported titles become part of the current project file. To export a title as an independent file 1 In the Project panel, select the title you want to save as an independent file. 2 Choose File > Export > Title.
ADOBE PREMIERE PRO 2.0 206 User Guide To set or restore a default template 1 With a title open, choose Title > Templates and select a template. 2 Do one of the following: • To set a default template, choose Set Template As Default Still from the Templates menu. The default template loads each time you open the Titler. • To restore the default set of templates, choose Restore Default Templates from the Templates menu and click Close.
ADOBE PREMIERE PRO 2.0 207 User Guide Note: The Titler’s Show Video value uses the same time display format specified in the project settings. For example, if you are working in a PAL project, the Show Video value represents PAL timecode. About title-safe and action-safe margins The title-safe and action-safe margins in the Titler’s drawing area designate the title’s visible safe zones. These margins are on by default. Safe zones are useful when you edit for broadcast and videotape.
ADOBE PREMIERE PRO 2.0 208 User Guide Dragging the corner handle of a point text object scales the text, whereas dragging the corner of a text box reflows the text it contains. If a text box is too small to contain the characters you type, you can resize the it to reveal the hidden text. Text boxes that contain hidden characters have a plus sign (+) on the right side of the box. You can also create path text. Instead of following a straight baseline, path text follows a curve you create.
ADOBE PREMIERE PRO 2.0 209 User Guide 6 When you finish, choose the Selection tool and click outside the text box. See also “To create shapes” on page 213 To edit and select text 1 Using the Selection tool, double-click the text at the point you want to edit the text or begin a selection. The tool changes to the Type tool, and a cursor indicates the insertion point. 2 Do either of the following: • To move the insertion point, click between characters or use the Left Arrow and Right Arrow keys.
ADOBE PREMIERE PRO 2.0 210 User Guide To change characters in the Font Browser 1 Choose Edit > Preferences > Titler. 2 In the Font Browser text box, type up to six characters, and then click OK. To change the font size ❖ Select the text and do one of the following: • Choose Title > Size and choose a font size. • Change the Font Size value in the Title Properties panel. To change text orientation 1 Select a text object. 2 Choose Title > Orientation and select either Horizontal or Vertical.
ADOBE PREMIERE PRO 2.0 211 User Guide Tracking Specifies the amount of space between a range of letters. The value indicates the percentage of character width between the specified range of characters. The direction of the text tracking is based on the justification of the text. For example, center-justified text tracks from the center. Adjusting the tracking is useful when your contiguous text has thick strokes that cause the characters to blend into each other, making them hard to read.
ADOBE PREMIERE PRO 2.0 212 User Guide Tab Stops dialog box See also “Creating rolls and crawls” on page 227 “Aligning and distributing objects” on page 218 To set and adjust a tab stop 1 Select a text box. 2 Choose Title > Tab Stops. 3 In the Tab Stops dialog box, do one of the following: • To create a tab stop with left-justified text, click the Left Justify tab marker • To create a tab stop with center-justified text, click the Center tab marker . .
ADOBE PREMIERE PRO 2.0 213 User Guide Adding shapes and images To create shapes In addition to creating text objects, you can also use the Titler’s drawing tools to create a variety of shapes, such as rectangles, ellipses, and lines. The Titler includes standard pen tools that resemble those used in Adobe Illustrator and Adobe Photoshop. The pen tools provide the most precise control over straight lines and curves. Using them, you can easily adjust the shape of the connecting paths.
ADOBE PREMIERE PRO 2.0 214 User Guide To change the shape of a graphic object or a logo 1 Select one or more objects or logos in a title. 2 In the Title Properties panel, click the triangle next to Properties to expand its list, and then choose an option from the Graphic Type menu. Note: When you change shapes, the original control points may be lost. To reveal the control points before or after changing the shape, select the object with the Selection tool.
ADOBE PREMIERE PRO 2.0 215 User Guide 3 Drag to create direction lines that determine the slope of the curve segment you’re creating. In general, extend the direction line about one third of the distance to the next anchor point you plan to draw. Shift-drag to constrain the direction line to multiples of 45 ˚. 4 Release the mouse button. Note: The first segment will not be visible until you draw the second anchor point.
ADOBE PREMIERE PRO 2.0 216 User Guide 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 . 3 Click the point that you want to delete.
ADOBE PREMIERE PRO 2.0 217 User Guide To set options for open and closed Bezier shapes The Pen tool allows you to create open or closed paths. You can specify the thickness of the path, as well as the shape of path segment ends and corners. ❖ Select a line or an open or closed Bezier shape, and in the Title Properties panel, specify any of the following options: Line Width Specifies the path width, in pixels. Cap Type Specifies the type of cap placed at the end of the paths.
ADOBE PREMIERE PRO 2.0 218 User Guide 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 in titles To change the stacking order of objects When you create objects that overlap each other, you can control their stacking order in the Titler. 1 Select the object you want to move.
ADOBE PREMIERE PRO 2.0 219 User Guide • A distribution option evenly spaces selected objects between the two most extreme objects. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects. • When you distribute objects of different sizes, the spaces between objects may not be uniform.
ADOBE PREMIERE PRO 2.0 220 User Guide • In the Transform section of the Title Properties panel, enter values for X Position and Y Position. • Use the arrow keys to nudge the object in 1-pixel increments, or press Shift+arrow key to nudge the object in 5-pixel increments. • Choose Title > Position and choose an option to center the selected object or align its bottom edge with the bottom of the title-safe margin. To scale objects 1 Select an object, or Shift-click to select multiple objects.
ADOBE PREMIERE PRO 2.0 221 User Guide Adding color, fills, texture, strokes, and shadows About object properties With the Titler, you can apply custom properties to each object or group of objects you create. These properties include strokes, fills, sheens, textures, and shadows. You can save a combination of properties as a style. Styles appear as buttons in the Titler Styles panel, allowing you to apply favorite property combinations to objects easily.
ADOBE PREMIERE PRO 2.0 222 User Guide See also “To add a stroke to an object” on page 224 Fill types Solid Creates a fill of uniform color. Set options as desired. Linear Gradient or 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.
ADOBE PREMIERE PRO 2.0 223 User Guide 2 In the Title Properties panel, select Texture for the object’s fill or stroke, and click the triangle next to it to reveal the options. 3 Click the Texture swatch and select a file on the hard disk, or navigate to Program Files/Adobe/Premiere Pro/Presets/Textures to open a texture, and then click Open.
ADOBE PREMIERE PRO 2.0 224 User Guide To add a stroke to an object You can add 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 each object. After you add the stroke, you can adjust its color, fill type, opacity, sheen, and texture.
ADOBE PREMIERE PRO 2.0 225 User Guide • To delete multiple strokes, Ctrl-click each stroke (as designated by the heading “Inner Stroke” or “Outer Stroke”) that you want to delete. You may select any combination of inner and outer strokes. 6 From the Title Properties panel menu, choose Delete Stroke. Selecting Delete Stroke from Title Properties panel menu To create a drop shadow Add drop shadows to any object you create in the Titler.
ADOBE PREMIERE PRO 2.0 226 User Guide The Current Style thumbnail always shows the properties that you have applied to the currently selected element. Titler Styles panel To create a style 1 Select an object that has the properties you want to save as a style. 2 Do one of the following: • From the Titler Styles panel menu, choose New Style. • Right-click in the Titler Styles panel, and choose New Style. 3 Type a name for the style and click OK.
ADOBE PREMIERE PRO 2.0 227 User Guide Note: This procedure deletes only the swatch or name from the display area. The style remains in the library. Use the Load Style Library, Reset Style Library, or Replace Style Library command to display the style library again. • To duplicate a style, select it, and choose Duplicate Style from the Titler Styles menu. A duplicate of the selected style appears in the Titler Styles panel.
ADOBE PREMIERE PRO 2.0 228 User Guide Setting title to roll To create a rolling or crawling title 1 Do one of the following: • To create a rolling title, choose Title > New Title > Default Roll. • To create a crawling title, choose Title > New Title > Default Crawl. 2 Create the text and graphic objects for the rolling or crawling title. Use the Titler panel scroll bar to view offscreen areas of the title. When the title is added to the sequence, the offscreen areas roll or crawl into view.
ADOBE PREMIERE PRO 2.0 229 User Guide Roll/Crawl Timing options Start Off Screen Specifies that the roll begins out of view and scrolls into view. End Off Screen Specifies that the roll continues until the objects are out of view. Pre-Roll Specifies the number of frames that play before the roll begins. Ease-In Specifies the number of frames through which the title rolls at a slowly increasing speed until the title reaches the playback speed.
230 Chapter 12: Animation Animating effects About keyframes Keyframes are used to create and control animation, effects, audio properties, and many other kinds of change that occur over time. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated.
ADOBE PREMIERE PRO 2.0 231 User Guide See also “To activate keyframing” on page 234 “About keyframes” on page 230 “Automating audio changes in the Audio Mixer” on page 199 Viewing keyframes and graphs You can view any keyframe in the keyframe area of the Effect Controls panel. In the Timeline panel, you can see keyframes by expanding the track and choosing the appropriate track viewing options.
ADOBE PREMIERE PRO 2.0 232 User Guide A B Effect Controls A. Value graph B. Velocity graph See also “About keyframes” on page 230 Displaying keyframes in the Timeline panel By default, keyframes in the Timeline panel are hidden. For video and audio effects, the Timeline panel can display the keyframes specific to each clip. For audio effects, the Timeline panel can also display the keyframes for an entire track.
ADOBE PREMIERE PRO 2.0 233 User Guide A B C D E Track keyframe controls in Timeline panel A. Track effect properties B. Keyframe graph C. Audio track keyframes D. Video clip keyframes E. Clip effect properties Adobe Premiere Pro provides a tool tip display of a keyframe’s location, as well as the property and options you set for it in the Effect Controls panel.
ADOBE PREMIERE PRO 2.0 234 User Guide 4 (Optional) Use the Zoom In control to magnify the clip so that the effect pop-up menu appears at the top of the track in the Timeline panel. You can also drag the boundaries above and below the track name to increase the track height. Dragging to increase the height of a track 5 (Optional) If you chose Show Keyframes, Show Clip Keyframes, or Show Track Keyframes in steps 2 and 3, click the effect menu and choose the effect that contains keyframes.
ADOBE PREMIERE PRO 2.0 235 User Guide Clicking the Toggle Animation button activates keyframing for an effect property at the current time. 1 Make sure you have a sequence with clips in the Timeline panel. By default, the Fixed effects (Motion, Opacity, and Volume) are applied to clips in the video and audio tracks. 2 (Optional) Add Standard effects to clips.
ADOBE PREMIERE PRO 2.0 236 User Guide A B C Keyframe navigator A. Keyframe navigator in Effect Controls panel B. Current-time indicator C. Keyframe navigator in Timeline panel To select keyframes If you want to modify or copy a keyframe, first select it. Unselected keyframes appear hollow; selected keyframes appear solid. You don’t need to select segments between keyframes because you can drag segments directly.
ADOBE PREMIERE PRO 2.0 237 User Guide 3 In the Effect Controls panel, click the triangle to expand the effect that you want to add keyframes to, and then click the Toggle Animation icon to activate keyframes for an effect property. 4 Do one of the following to display the effect property’s graph: • (Effect Controls panel) Click the triangle to expand the effect property and display its Value and Velocity graphs.
ADOBE PREMIERE PRO 2.0 238 User Guide See also “Displaying keyframes in the Timeline panel” on page 232 “To view keyframes in the Effect Controls panel” on page 231 “About keyframes” on page 230 To edit keyframe graphs in the Effect Controls panel In the Effect Controls panel, you can make precise adjustments to keyframes for any effect property by editing their graphs. Once you activate keyframing for an effect’s property, you can display the effect’s Value and Velocity graphs.
ADOBE PREMIERE PRO 2.0 239 User Guide Specifying keyframe values in the Timeline panel You can use the Selection and Pen tools to edit keyframes in the Timeline panel. You increase or decrease values by dragging keyframes vertically.
ADOBE PREMIERE PRO 2.0 240 User Guide 2 In the Automation Keyframe Optimization area, select one or both of the following options, and then click OK: Linear Keyframe Thinning Creates keyframes only at points that do not have a linear relationship to the start and end keyframes. For example, suppose you are automating a fade from 0 dB to –12 dB.
ADOBE PREMIERE PRO 2.0 241 User Guide • Select another clip, expand the appropriate property in the Effect Controls panel, move the current-time indicator to where you want the first keyframe to appear, and choose Edit > Paste. You can also move a keyframe to a different time by dragging the keyframe.
ADOBE PREMIERE PRO 2.0 242 User Guide Controlling effect changes using keyframe interpolation About interpolation Interpolation is the process of filling in the unknown data between two known values. In digital video and film, this usually means generating new values between two keyframes.
ADOBE PREMIERE PRO 2.0 243 User Guide Auto Bezier Creates a smooth rate of change through a keyframe. As you change a keyframe’s value, the Auto Bezier direction handles change to maintain a smooth transition between keyframes. Continuous Bezier Creates a smooth rate of change through a keyframe. However, unlike the Auto Bezier interpolation method, Continuous Bezier lets you adjust direction handles manually.
ADOBE PREMIERE PRO 2.0 244 User Guide 3 To manually change a keyframe from one type to another, do one of the following: • If the keyframe uses Linear interpolation, Ctrl-click the keyframe in the Timeline panel or Ctrl-click the keyframe marker in the Effect Controls panel to change it to Auto Bezier. If you drag the handles, the keyframe changes to Continuous Bezier. • If the keyframe uses Auto Bezier interpolation, Ctrl-click the keyframe and drag out a direction handle to change it to Bezier.
ADOBE PREMIERE PRO 2.0 245 User Guide 2 In the Value graph, use the Selection or Pen tool to click the keyframe marker for the keyframe you want to adjust. This displays the direction handles and speed controls for the keyframe in the Velocity graph. 3 In the Velocity graph, use the Selection or Pen tool to do one of the following: • To accelerate entering and leaving the keyframe, drag a direction handle up. Both the incoming and outgoing handles move together.
ADOBE PREMIERE PRO 2.0 246 User Guide Because the Position, Scale, and Rotation properties are spatial in nature, it’s best if they are adjusted directly in the Program Monitor. When you click the Transform icon next to the Motion effect in the Effect Controls panel, handles appear on the clip in the Program Monitor that let you directly manipulate the clip and adjust the Motion effect properties.
ADOBE PREMIERE PRO 2.0 247 User Guide The handles and anchor point appear in the Program Monitor. 3 In the Program Monitor, do any of the following: • To position a clip or lighting effect, click in the clip or effect outline and drag to reposition it. Don’t drag a handle to reposition the clip or lighting effect. • To scale freely, drag a corner handle. • To scale one dimension only, drag a side (not a corner) handle. • To scale proportionally, Shift-drag any handle.
ADOBE PREMIERE PRO 2.0 248 User Guide See also “To adjust position, scale, and rotation” on page 246 “About interpolation” on page 242 “Controlling change using Bezier keyframe interpolation” on page 243 “About keyframes” on page 230 To animate a clip in the Program Monitor When the Motion effect is selected in the Effect Controls panel, you can manipulate a clip in the Program Monitor. Create an animation by setting keyframes for one or more of the Motion effect’s properties (for example, Position).
ADOBE PREMIERE PRO 2.0 249 User Guide To change Position keyframes in a motion path You can change the value of a Position keyframe, and thereby adjust your motion path, simply by dragging the Position keyframe (indicated by a white X) in the Program Monitor. 1 Select a clip that has Motion effect keyframes. 2 In the Effect Controls panel, click the Transform icon Program Monitor. next to Motion.
250 Chapter 13: Applying Effects Working with effects Working with effects Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects.
ADOBE PREMIERE PRO 2.0 251 User Guide volume in the Effect Controls panel” on page 188, and “To set a uniform track output level in the Audio Mixer” on page 188.) Because Fixed effects are already built into each clip, you need only adjust their properties to activate them. Adobe Premiere Pro renders Fixed effects after any Standard effects that are applied to the clip. Standard effects are rendered in the order in which they appear, from the top down.
ADOBE PREMIERE PRO 2.0 252 User Guide Any effect is available to Adobe Premiere Pro when its plug-in file is present in the Plug-ins folder, which is in the Adobe Premiere Pro folder by default. If you purchased additional effects, purchased Adobe Premiere Pro as part of a hardware package, or removed files from the Plug-ins folder, you may have a different set of effects than those described in Adobe Premiere Pro Help. You can find a complete list of third-party plug-in vendors on the Adobe web site.
ADOBE PREMIERE PRO 2.0 253 User Guide G H A I B C D E F J K Effects panel A. Effects bins B. Custom bin C. Audio effect D. Audio transition E. Video effect F. Video transition G. Effects panel menu H. Search text box I. Transitions bins J. New Custom bin K. Delete Custom Item To create bins of favorite effects 1 In the Effects panel, click the New Custom Bin button , or choose New Custom Bin from the Effects panel menu. A new Custom bin appears in the Effects panel. You can rename it.
ADOBE PREMIERE PRO 2.0 254 User Guide You cannot apply audio effects to a clip when Show Track Volume or Show Track Keyframes is enabled for the Audio track. If the clip is selected in the Timeline panel and the Effect Controls panel is open, you can drag the effect directly to the Effect Controls panel. 3 In the Effect Controls panel, click the triangle to show the effect’s options and then specify the option values.
ADOBE PREMIERE PRO 2.0 255 User Guide Adjusting effects About the Effect Controls panel When you apply an effect, the Effect Controls panel lists all the effects that are applied to the currently selected clip. Fixed effects are included with every clip: the Motion and Opacity effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section. The Volume effect is included only for audio clips or video clips with linked audio.
ADOBE PREMIERE PRO 2.0 256 User Guide A B C D Effect Controls panel A. Reset Effect button B. Show/Hide Effects button C. Toggle The Effect On Or Off button D. Toggle-Animation button When a clip is selected in the Timeline panel, the Effect Controls panel automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline. You can view the rest of the Timeline panel by deselecting Pin To Clip in the Effect Controls panel menu.
ADOBE PREMIERE PRO 2.0 257 User Guide Note: The Effect Controls panel will not display effects if multiple clips are selected in the Timeline panel. • To expand or collapse video or audio effects headings, click the Show/Hide button in the heading.
ADOBE PREMIERE PRO 2.0 258 User Guide To disable or enable effects in a clip ❖ Select one or more effects in the Effect Controls panel, and do one of the following: • Click the Effect button to disable effects. • Click an empty Effect button box to enable effects. • Deselect or select the Effect Enabled command in the Effect Controls panel menu. You can create a custom keyboard shortcut to toggle effects on and off.
ADOBE PREMIERE PRO 2.0 259 User Guide See also “Using the Effects panel” on page 252 To create and save an effect preset 1 Display and select the clip that uses the effect with the settings that you want to save as a preset. 2 In the Effect Controls panel, select the effect you want to save, and choose Save Preset from the Effect Controls panel menu. You can only save one effect at a time as a preset. 3 In the Save Preset dialog box, specify a name for your preset. If desired, enter a description.
ADOBE PREMIERE PRO 2.0 260 User Guide • To create a presets bin, choose New Presets Bin from the Effects panel menu. Adobe Premiere Pro nests each new presets bin in the root Presets bin. • To nest a new custom or presets bin, select the bin into which you want to place the new bin, and then create a custom or presets bin. • To rename a bin, select the bin, then click the bin name, and then type a new name and press Enter. Skip steps 2 and 3.
ADOBE PREMIERE PRO 2.0 261 User Guide Correcting exposure: Overexposed image with the waveform in the upper limits of the IRE scale (left) and corrected image with the waveform within 7.5 to 100 IRE (right) The following is a general guide for choosing which Color Correction effect to use: Fast Color Corrector Makes quick color and luminance adjustments to the entire tonal range in a clip.
ADOBE PREMIERE PRO 2.0 262 User Guide 3 Make sure that the Draft Quality is not chosen in the Program Monitor menu. If possible, choose Highest Quality. If your computer performance suffers, then choose Automatic Quality instead. 4 (Optional) Choose New Reference Monitor from the Program Monitor menu. Move the Reference Monitor where you can see it and the Program Monitor easily. Note: By default, the Gang To Program Monitor option is enabled in the Reference Monitor menu.
ADOBE PREMIERE PRO 2.0 263 User Guide 6 (Optional) Use the Tonal Range Definition control to define the shadow, midtone, and highlight areas in the clip. You can choose Tonal Range from the Output menu to view the tonal ranges you defined. Once defined, choose from the Tonal Range menu to restrict the color corrections to a specific tonal range. See also “To define the tonal ranges in a clip” on page 271.
ADOBE PREMIERE PRO 2.0 264 User Guide 3 (Optional) Select the Show Split View option if you want to view a before and after comparison of your adjustment in the Program Monitor. You can specify whether the split view is horizontal or vertical by choosing from the Layout pop-up menu. You can also adjust the relative proportion of the before and after views. 4 Select the White Balance eyedropper and click to sample an area in the Program Monitor. It’s best to sample an area that is supposed to be white.
ADOBE PREMIERE PRO 2.0 265 User Guide Color balance, angle, and saturation controls The Fast Color Corrector and the Three-Way Color Corrector effects offer Hue Balance and Angle color wheels and a Saturation control for balancing color in your video. Color balance is just what its name implies, balancing the red, green, and blue components to produce the desired color of white and neutral grays in the image.
ADOBE PREMIERE PRO 2.0 266 User Guide See also “Vectorscope” on page 280 To adjust color balance and saturation Although the following procedure uses the color wheel adjustments. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-Way Color Corrector effects. 1 Set up your workspace for color correction. 2 Select the clip in the Timeline panel and apply either the Fast Color Corrector or the Three-Way Color Corrector effect.
ADOBE PREMIERE PRO 2.0 267 User Guide Adjusting the Balance Gain to fine-tune the Balance Magnitude setting. Note: The Three-Way Color Corrector effect lets you make separate adjustments to the three tonal ranges using individual wheels for the shadows, midtones, and highlights. 7 Use the Saturation control to adjust the color saturation in the image. Moving the slider to the left (lower value) desaturates the colors. Moving the slider to the right (higher values) increases the color saturation.
ADOBE PREMIERE PRO 2.0 268 User Guide 5 (Optional) Click the triangle to expand the Secondary Color Correction controls if you want to correct the exposure for a specific color or range of colors. Use the Eyedropper tool or the other Secondary Color Correction controls to specify the colors to correct. 6 Do one of the following to make curve adjustments: • To adjust the luminance, click to add a point on the Luma or Master graph and drag to change the shape of the curve.
ADOBE PREMIERE PRO 2.0 269 User Guide If the clip is already selected in the Timeline panel, you can drag the effect to the Video Effects area of the Effect Controls panel. 4 In the Effect Controls panel, click the triangle to expand the Fast Color Corrector or Three-Way Color Corrector controls. 5 (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu.
ADOBE PREMIERE PRO 2.0 270 User Guide Gray Level eyedropper Maps the sampled tone to a medium gray (level 128). This changes the intensity values of the middle range of gray tones without dramatically altering the highlights and shadows. You can also click the color swatch to open the Adobe Color Picker and select a color to define the medium gray in the image. White Level eyedropper Maps the sampled tone to the setting of the White Output slider.
ADOBE PREMIERE PRO 2.0 271 User Guide B C D E F A Adobe Color Picker A. Selected color B. Color field C. Color slider D. Original color E. Adjusted field F. Color values To define the tonal ranges in a clip The Luma Corrector, RGB Color Corrector, and Three-Way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image.
ADOBE PREMIERE PRO 2.0 272 User Guide Once you’ve defined the tonal range in the clip, you can use the Tonal Range menu to choose whether to apply the color correction to the shadows, midtones, highlights, or the entire tonal range (Master). Choosing Tonal Range from Output menu to display shadow, midtone, and highlight regions in image. To specify a color or range of colors to adjust The Secondary Color Correction specifies the color range to be corrected by an effect.
ADOBE PREMIERE PRO 2.0 273 User Guide • Use the Saturation and Luma controls to specify saturation and luminance parameters for the color range to be color corrected. These controls fine-tune the range of color specification. 6 (Optional) Choose Mask from the Output menu to view the areas selected for adjustment. White represents areas that allow 100% color correction, and black represents areas protected (masked) from color correction. The gray areas allow partial application of the color correction.
ADOBE PREMIERE PRO 2.0 274 User Guide 4 In the Effect Controls panel, click the triangle to expand the Color Match effect. 5 Choose a method for matching the clips from the Method menu: HSL Matches using the hue, saturation, and luminance values in the clips. You can select whether apply the effect to the either a single component or any combination of the hue, saturation, or luminance components. RGB Matches using the values of the red, green, and blue channels in the clips.
ADOBE PREMIERE PRO 2.0 275 User Guide To remove color in a clip To quickly remove color in a clip, apply the Black & White effect from the Image Control bin of the Video Effects bin. 1 Set up your workspace for color correction. 2 Select the clip in the Timeline panel and apply either the Fast Color Corrector or the Three-Way Color Corrector.
ADOBE PREMIERE PRO 2.0 276 User Guide To isolate a single color using Color Pass The Color Pass effect lets you isolate a single color or a range of colors. Adjustments are made in a dialog box showing the Clip Sample and Output Sample. You can also adjust the Color Pass effect properties in the Effect Controls panel. If you want to color correct a single color or range of colors in a clip, use the Secondary Color Correction controls in the Color Correction effects. 1 Drag the Color Pass effect to a clip.
ADOBE PREMIERE PRO 2.0 277 User Guide 10 In the Offset text box, type the value to be added to the result of the scale calculation. 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. 11 Click OK. The effect is applied to each pixel in the clip, one at a time. See also “Convolution Kernel effect” on page 286 To use Lighting Effects Use Lighting Effects to apply lighting effects to a clip.
ADOBE PREMIERE PRO 2.0 278 User Guide • Click the Eyedropper icon and then click anywhere on the computer desktop to select a color. 6 (Optional) Click the Transform icon to display the light’s handles and Center circle in the Program Monitor. You can directly manipulate the position, scale, and rotation of a light by dragging its handles and Center circle . Note: If you have more than one light, Center circles for each light appear in the Program Monitor.
ADOBE PREMIERE PRO 2.0 279 User Guide See also “To apply Lighting Effects textures” on page 279 “To adjust position, scale, and rotation” on page 246 To apply Lighting Effects textures A bump layer in the Lighting Effects lets you use the pattern or texture from a clip to control how light reflects off an image. Using a clip with textures like paper or water can create a 3D-like lighting effect. 1 Add the clip you want to use as a bump layer (texture) to a separate track in your sequence.
ADOBE PREMIERE PRO 2.0 280 User Guide Vectorscope The Vectorscope displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Saturation is measured from the center of the chart outward. Saturated, vivid colors produce a pattern some distance from the center of the chart, while a black-and-white image produces only a dot at the center of the chart. The particular color, or hue, of the image determines the direction (angle of the pattern).
ADOBE PREMIERE PRO 2.0 281 User Guide A B C D YC Waveform A. IRE units B. Luminance (green) waveform C. Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Intensity Adjusts the brightness of the waveform display. It does not affect the video output signal. Setup (7.5 IRE) Displays a waveform that approximates the final analog video output signal. Deselecting this option displays the digital video information.
ADOBE PREMIERE PRO 2.0 282 User Guide A B C D E RGB Parade scope A. Values B. R waveform C. G waveform D. B waveform E. Range of signal components To view a scope You can view a vectorscope, YC waveform, YCbCr Parade, and an RGB Parade scope either individually or grouped in the Reference Monitor, Program Monitor, or Source Monitor. 1 Depending on whether you want to view a scope for a master clip or sequence clip, do one of the following: • Double-click the clip in the Project panel.
283 Chapter 14: Effects: Reference Gallery of effects Gallery of effects The samples below illustrate just some of the video effects included with Adobe Premiere Pro. To preview an effect not in this gallery, apply it and preview it in the Program Monitor.
ADOBE PREMIERE PRO 2.
ADOBE PREMIERE PRO 2.0 285 User Guide Adjust effects Auto Color, Auto Contrast, and Auto Levels effects The Auto Color, Auto Contrast, and Auto Levels make quick global adjustments to a clip. Auto Color adjusts the contrast and color of a clip by neutralizing the midtones and clipping the white and black pixels. Auto Contrast adjusts the overall contrast and mixture of colors, without introducing or removing color casts. Auto Levels automatically corrects the highlights and shadows.
ADOBE PREMIERE PRO 2.0 286 User Guide Color Balance effect The Color Balance effect changes the amount of red, green, and blue color in a clip. The center point of each slider is neutral and indicates no change. A setting of –100 removes all of the color; a setting of +100 intensifies the color. The clip’s quality setting does not affect Color Balance.
ADOBE PREMIERE PRO 2.0 287 User Guide Lighting Effects effect The Lighting Effects effect applies lighting effects on a clip with up to five lights to introduce creative lighting effects. Lighting Effects lets you control lighting properties such as lighting type, direction, intensity, color, lighting center, and lighting spread. There is also a Bump Layer control to use textures or patterns from other footage to produce special lighting effects such as a 3D-like surface effect.
ADOBE PREMIERE PRO 2.0 288 User Guide Shadow Tonal Width and Highlight Tonal Width Specify the range of adjustable tones in the shadows and highlights. Lower values restrict the adjustable range to only the darkest and lightest regions, respectively. Higher values expand the adjustable range. These controls are useful for isolating regions to adjust.
ADOBE PREMIERE PRO 2.0 289 User Guide Channel Blur effect 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. Use this effect for glow effects or if you want a blur that does not become transparent near the edges of the clip. The Edge Behavior option describes how to treat the edges of a blurred image.
ADOBE PREMIERE PRO 2.0 290 User Guide Gaussian Blur effect The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both. (Gaussian refers to the bell-shaped curve that is generated by mapping the color values of the affected pixels.) Gaussian Sharpen effect The Gaussian Sharpen effect sharpens a clip by a large amount; the effect is similar to that of choosing the Sharpen effect several times.
ADOBE PREMIERE PRO 2.0 291 User Guide Channel effects 3D Glasses effect The 3D Glasses effect creates a single 3D image by combining a left and right 3D view. You can use images from 3D programs or stereoscopic cameras as sources for each view. The method you use to create the combined images dictates how you view them.
ADOBE PREMIERE PRO 2.0 292 User Guide • Balanced Red Green LR Performs the same operation as Red Green LR but also balances the colors to reduce shadows or ghosting effects caused by one view showing through the other. Setting a high value reduces the overall contrast. • Balanced Red Blue LR Performs the same operation as Red Blue LR but also balances the colors in order to reduce shadows or ghosting effects.
ADOBE PREMIERE PRO 2.0 293 User Guide Clip Result Values Prevents all functions from creating color values that exceed the valid range. If this option is not selected, some color values may wrap around from on to off, or vice versa. Arithmetic effect: Original images (left and center) and with Arithmetic effect applied (right) Blend effect The Blend effect blends two clips using one of five modes.
ADOBE PREMIERE PRO 2.0 294 User Guide Cineon Converter effect The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. In Adobe Premiere Pro, you can convert the color in a Cineon file using controls using the Cineon Converter effect. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence.
ADOBE PREMIERE PRO 2.0 295 User Guide Compound Arithmetic effect The Compound Arithmetic effect mathematically combines the layer to which it is applied with another layer. The Compound Arithmetic effect is intended only to provide compatibility with projects created in earlier versions of After Effects that use the Compound Arithmetic effect. Using layer blending modes is usually more effective than using the Compound Arithmetic effect.
ADOBE PREMIERE PRO 2.0 296 User Guide Set Matte effect The Set Matte effect replaces the alpha channel (matte) of a clip with a channel from a clip in a different video track. This creates traveling matte effects. Note: The Set Matte effect was originally from After Effects and intended only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect.
ADOBE PREMIERE PRO 2.0 297 User Guide Color Specifies the hue of the solid color. Opacity Specifies the solid color to composite with the source clip. Blending Mode Specifies the blend mode the effect uses to combine the original clip and the solid color. Color Correction effects Fast Color Corrector effect The Fast Color Corrector effect adjusts a clip’s color using hue and saturation controls. The effect also has levels controls for adjusting intensity levels of image shadows, midtones, and highlights.
ADOBE PREMIERE PRO 2.0 298 User Guide Auto White Level Lowers the white levels in a clip so the lightest levels do not exceed 100 IRE. A portion of the highlights is clipped and the intermediate pixel values are redistributed proportionately. As a result, using Auto White Level darkens the highlights in an image.
ADOBE PREMIERE PRO 2.0 299 User Guide Tonal Range Specifies whether the luminance adjustments are applied to the entire image (Master), the highlights only, midtones only, or shadows only. Brightness Adjusts the black level in a clip. Use this control so that the black picture content in your clip appears as black. Contrast Affects the image’s contrast by adjusting the gain from the clip’s original contrast value. Contrast Level Sets the clip’s original contrast value.
ADOBE PREMIERE PRO 2.0 300 User Guide Show Split View Displays the left or upper part of the image as the corrected view and the right or lower part of the image as the uncorrected view. Layout Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical). Split View Percent Adjusts the size of the corrected view. The default is 50%. Luma Alters the brightness and contrast of the clip when you change the shape of the curve.
ADOBE PREMIERE PRO 2.0 301 User Guide Split View Percentage Adjusts the size of the corrected view. The default is 50%. Tonal Range Definition Defines the tonal range of the shadows and highlights using threshold and falloff controls: • Shadow Threshold Determines the shadow’s tonal range. • Shadow Softness Determines the shadow’s tonal range with falloff. • Highlight Threshold Determines the highlight’s tonal range. • Highlight Softness Determines the highlight’s tonal range with falloff.
ADOBE PREMIERE PRO 2.0 302 User Guide Invert Limit Color Corrects all colors except for the color range that you specified with the Secondary Color Correction settings. See also “To apply the Color Correction effects” on page 262 “Adjusting color and luminance” on page 260 RGB Curves effect The RGB Curves effect adjusts a clip’s color using curve adjustments for each color channel. Each curve lets you adjust up to 16 different points throughout an image’s tonal range.
ADOBE PREMIERE PRO 2.0 303 User Guide Edge Thinning Makes the specified area more sharply defined. The correction becomes more pronounced. A higher value increases the edge definition of the specified area. Invert Limit Color Corrects all colors except for the color range that you specified with the Secondary Color Correction settings.
ADOBE PREMIERE PRO 2.0 304 User Guide Highlights/Midtones/Shadows Hue Angle Controls the hue rotation in the highlights, midtones, or shadows. The default value is 0. Negative values rotate the color wheel to the left and positive values rotate the color wheel to the right. Highlights/Midtones/Shadows Balance Magnitude Controls the amount of color balance correction as determined by the Balance Angle. The adjustment can be applied to highlights, midtones, and shadows.
ADOBE PREMIERE PRO 2.0 305 User Guide Hue, Saturation, and Luma Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range. Soften Makes boundaries of the specified area more diffuse, blending the correction more with the original image. A higher value makes the increases the softness.
ADOBE PREMIERE PRO 2.0 306 User Guide See also “Adjusting color and luminance” on page 260 Distort effects Bend effect The Bend effect distorts a clip by producing the appearance of a wave traveling both vertically and horizontally through the clip. You can produce a number of different wave shapes at various sizes and rates. The Bend effect has the following settings: Direction Specifies the direction of the wave: • In Specifies that waves move toward the center of the clip.
ADOBE PREMIERE PRO 2.0 307 User Guide Vertical and Horizontal Prism FX Create a result similar to vertical and horizontal decentering, except that at extreme values the image doesn’t wrap in on itself. Fill Color Specifies the background color. Fill Alpha Channel Makes the background transparent so that underlying tracks are visible. In the Effect Controls panel, click Setup to access this option. Magnify effect The Magnify effect enlarges a selected area of a clip.
ADOBE PREMIERE PRO 2.0 308 User Guide • Soft Uses spline algorithms. If you scale the image beyond 100%, Soft reduces edge pixelation and maintains image quality. Soft works well at large magnification amounts. • Scatter Creates scatter or noise in the image as the image enlarges. Blending Mode Specifies the blend mode that the effect uses to combine the magnified area with the original clip. The None option displays transparent pixels around the magnified area.
ADOBE PREMIERE PRO 2.0 309 User Guide The Polar Coordinates effect has the following settings: Interpolation Specifies the amount of distortion. At 0% there is no distortion. Rect To Polar Moves pixels by using the standard x,y coordinates from each pixel as polar coordinates. For example, an x,y coordinate of 2,3 becomes a polar coordinate with a radius of 2 and an angle of 3 degrees. Horizontal lines distort into circles and vertical lines into radial lines.
ADOBE PREMIERE PRO 2.0 310 User Guide Turbulent Displace effect: Original image (left) and with variations of the Turbulent Displace effect applied (center and right) Adjust the following controls for Turbulent Displace: Displacement Specifies the type of turbulence used. Turbulent, Bulge, and Twist warp the image in slightly different directions.
ADOBE PREMIERE PRO 2.0 311 User Guide • Cycle Specifies the number of revolutions of the Evolution setting that the fractal noise cycles through before it repeats. The amount of time allowed between evolution keyframes determines the timing or speed of these evolution cycles. Higher values create longer render times. Cycle affects only the state of the fractal, not geometrics or other controls.
ADOBE PREMIERE PRO 2.0 312 User Guide GPU effects Page Curl effect Use Page Curl to simulate a page slowly turning. As the “page” turns, you see the back of the image mapped to the opposite side of the curl. The back of the image is actually a mirror image of the front. This effect is most useful as a transition where you would like to have a high-quality, textured page peel effect to reveal an underlying frame.
ADOBE PREMIERE PRO 2.0 313 User Guide Image Control effects Black & White effect The Black & White effect converts any color clip to grayscale; that is, colors appear as shades of gray. You cannot keyframe this effect. Change Color effect The Change Color effect adjusts the hue, saturation, and lightness of a range of colors. Choose the range by specifying a base color and similarity values. The similarity can be an RGB similarity, a hue similarity, or a chroma similarity.
ADOBE PREMIERE PRO 2.0 314 User Guide Change To Color offers flexibility and options unavailable in the Change Color effect. These options include tolerance sliders for hue, lightness, and saturation for exact color matching, and the ability to select the exact RGB values of the target color that you wish to change to.
ADOBE PREMIERE PRO 2.0 315 User Guide The Color Balance (HLS) effect has the following settings: Hue Specifies the color scheme of the image. Lightness Specifies the brightness of the image. Saturation Adjusts the image’s color saturation. The default value is 0 which doesn’t affect the colors. Negative values decrease saturation, with -100 converting the clip to grayscale. Values greater than 0 produce more saturated colors.
ADOBE PREMIERE PRO 2.0 316 User Guide See also “To replace a color” on page 274 Equalize effect The Equalize effect alters an image’s pixel values to produce a more consistent brightness or color component distribution. The effect works similarly to the Equalize command in Adobe Photoshop. Equalization can be performed using either RGB values or the brightness component. Pixels with 0 alpha (completely transparent) values are not considered, so masked layers are equalized based on the mask area.
ADOBE PREMIERE PRO 2.0 317 User Guide 2 In the Effect Controls panel, click the Setup icon then click Open. , select an arbitrary map file in the Open dialog box, and Although you can’t import .acv files into the PS Arbitrary Map effect, you can convert these files in Photoshop to create files that are compatible with the Curves effect. To convert .acv files for the PS Arbitrary Map effect 1 In the Curves dialog box in Photoshop, load the .acv file. 2 Click the Pencil tool and then save the file as an .
ADOBE PREMIERE PRO 2.0 318 User Guide A B C D Chroma Key effect A. Original image B. Blue color keyed out C. Image on second track D. Final composite image See also “Using the Chroma Key” on page 360 Color Key effect The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a clip. Color Key effect: A non-standard blue screen (left) and the background (center) are combined with Color Key (right).
ADOBE PREMIERE PRO 2.0 319 User Guide See also “About the Difference Matte Key” on page 365 “To replace a static background behind moving objects” on page 365 Eight-Point, Four-Point, and Sixteen-Point Garbage Matte effects The three Garbage Matte effects aid in cropping out extraneous portions of a shot so that you can apply and adjust a key effect more effectively. The mattes are applied with either four, eight, or 16 adjustment points for more detailed keying.
ADOBE PREMIERE PRO 2.0 320 User Guide Multiply Key effect The Multiple Key effect multiplies the color values in a clip image with the underlying clip, and divides the result by 255 (the maximum pixel value of 8-bit pixels). The resulting color is never brighter than the original. See also “Multiply Key and Screen Key” on page 363 Non Red Key effect The Non Red Key effect makes the clip’s non-red (blue or green) pixels transparent.
ADOBE PREMIERE PRO 2.0 321 User Guide See also “Using the Track Matte Key” on page 366 “To create transparency in a superimposed clip” on page 367 Noise effects Median effect The Median effect replaces each pixel with the median pixel value of neighboring pixels within a given radius. At low values, this effect reduces noise. At higher values, this effect gives a clip a painterly effect. The Median effect has the following settings: Radius Specifies how many pixels to examine for the Median effect.
ADOBE PREMIERE PRO 2.0 322 User Guide 5 Drag the Threshold slider left to 0 to turn off the value, so that all pixels in the selection or image can be examined. (The threshold determines how different the pixels’ values should be before they are eliminated.) Note: The Threshold slider gives greater control for values between 0 and 128—the most common range for images— than for values between 128 and 255.
ADOBE PREMIERE PRO 2.0 323 User Guide Noise Phase Specifies the placement of noise. This control is active only if you choose Uniform Animation or Squared Animation from the Noise pop-up menu. Noise Options (Animation) Specifies how you animate noise. • Cycle Noise Produces a cycle of noise that plays through once in the specified amount of time. • Cycle (In Revolutions) Specifies the numbers of revolutions of the Noise Phase that the noise cycles through before it repeats.
ADOBE PREMIERE PRO 2.0 324 User Guide See also “About keyframes” on page 230 Perspective effects Basic 3D effect The Basic 3D effect manipulates a clip in an imaginary three-dimensional space. You can rotate your image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface.
ADOBE PREMIERE PRO 2.0 325 User Guide Bevel Edges effect The Bevel Edges effect gives a chiseled and lighted three-dimensional appearance to the edges of an image. Edge locations are determined by the alpha channel of the source image. Unlike Bevel Alpha, the edges created in this effect are always rectangular, so images with nonrectangular alpha channels do not produce the proper appearance. All edges have the same thickness.
ADOBE PREMIERE PRO 2.0 326 User Guide Render Specifies the type of shadow the effect creates. • Regular Creates a shadow based on the Shadow Color and Opacity values, regardless of semi-transparent pixels in the original clip. (If Regular is chosen, the Color Influence control is disabled.) • Glass Edge Creates a colored shadow based on the color and opacity of the original clip. If there are semi-transparent pixels in the source clip, the shadow uses both the color and transparency of the original clip.
ADOBE PREMIERE PRO 2.0 327 User Guide 4 Color Gradient effect: Original images (left) and with variations of 4-Color Gradient effect applied (center and right) Adjust the following controls for 4-Color Gradient: Points Adjusts the positioning of each color within the four-color gradient, based on x, y coordinate values. Colors Specifies the RGB color values for each of the four points. Color 1 sets the color of Point 1, Color 2 sets the color of Point 2, and so on.
ADOBE PREMIERE PRO 2.0 328 User Guide Contrast Specifies the contrast of the cell pattern image when you use the Bubbles, Crystal, Pillow, Mixed Crystals, or Tubular cell pattern. The control specifies sharpness for any of the Plate or Crystallize options. Note: The clip’s contrast is affected by the option chosen in the Overflow menu. Overflow Specifies the method used to remap values that fall outside the grayscale range of 0–255. Overflow is not available when sharpness-based cell patterns are chosen.
ADOBE PREMIERE PRO 2.0 329 User Guide affects only the state of the cell pattern, not geometrics or other controls. For example, two identical states of the cell pattern don’t appear the same if viewed with different Size or Offset settings.) • Random Seed Specifies a unique random value from which to generate the pattern. Animating this control results in flashing from one set of cell shapes to another of the same cell pattern type. For smooth transition of the cell pattern, use the Evolution control.
ADOBE PREMIERE PRO 2.0 330 User Guide Blending Mode Specifies the blending mode the effect uses to create an interaction between the checkerboard pattern and the original layer. The default None mode renders the checkerboard pattern only. Circle effect The Circle effect creates either a customizable solid circle or ring.
ADOBE PREMIERE PRO 2.0 331 User Guide Ellipse effect The Ellipse effect draws an ellipse based on the dimensions you specify in the Effect Controls panel. In addition to width and height, you can specify the thickness, softness, and color of the ellipse. Width and Height Controls specify the width and height of the ellipse in pixels. Values range from 0 to 2000 pixels. Thickness Specifies the thickness of the arc forming the ellipse. Values range from 0 to 1000 pixels.
ADOBE PREMIERE PRO 2.0 332 User Guide Grid effect Use the Grid effect to create a customizable grid. Render this grid in a color matte or as a mask in the alpha channel of the source clip. This effect is good for generating design elements and mattes within which other effects can be applied.
ADOBE PREMIERE PRO 2.0 333 User Guide The Lens Flare effect has the following settings: Brightness Specifies the percentage of brightness. Values can range from 10% to 300%. Flare Center Specifies a location for the center of the flare. Lens Type Selects the type of lens to simulate. Lightning effect The Lightning effect creates lightning bolts and other electrical effects, including a Jacob's Ladder appearance (as seen in old horror movies) between two specified points in a clip image.
ADOBE PREMIERE PRO 2.0 334 User Guide Core Width Specifies the width of the inner glow, as specified by the Inside Color value. The Core Width is relative to the total width of the lightning bolt. Outside Color, Inside Color Specify the colors used for the lightning bolt’s outer and inner glows. Because the Lightning effect adds these colors on top of existing colors in the composition, primary colors often produce the best results.
ADOBE PREMIERE PRO 2.0 335 User Guide Tolerance Specifies the range of pixels that the effect fills with the new color. This value is based upon the option chosen in the Fill Selector menu. Higher values expand the range of similar pixel values that the effect fills. Lower tolerance values restrict that range. View Threshold Causes the effect to display the threshold values in black and white (based on the tolerance value) in the Composition window.
ADOBE PREMIERE PRO 2.0 336 User Guide The Alpha Glow effect has the following settings: Glow slider Controls how far the color extends from the alpha channel edge. Higher settings produce larger glows (and can cause very slow processing before playback or export). Brightness slider Controls the initial opacity of the glow. 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.
ADOBE PREMIERE PRO 2.0 337 User Guide Color Emboss effect The Color Emboss effect sharpens the edges of objects in the image but doesn’t suppress any of the image’s original colors. The Color Emboss effect has the following settings: 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.
ADOBE PREMIERE PRO 2.0 338 User Guide Adjust the following controls for the Leave Color effect: Amount To Decolor Specifies how much color is removed from the layer. A setting of 100% causes the areas of the image dissimilar to the selected color to appear as shades of gray. At 50%, those areas lose half of their color saturation. Color To Leave Specifies the color that is to be left untouched. Tolerance Specifies how closely the effect matches colors.
ADOBE PREMIERE PRO 2.0 339 User Guide Roughen Edges effect: Original image (left), with Edge Type set to Roughen (center) and with Rusty Color (right) Adjust the following controls for the Roughen Edges effect: Edge Type Specifies how the effect is applied to the alpha channel. If you choose an option that uses color, such as Photocopy Color, specify the color using the Edge Color control.
ADOBE PREMIERE PRO 2.0 340 User Guide Note: The Cycle control affects only the state of the fractal, not geometrics or other controls. For example, two identical states of the fractal will not appear the same if viewed with different Size or Offset settings. • Random Seed Specifies a unique random value from which to generate the roughness texture. Animating this property results in flashing from one set of fractal shapes to another within the same fractal type.
ADOBE PREMIERE PRO 2.0 341 User Guide Write-on effect The Write-on effect animates strokes on a clip. For example, you can simulate the writing of cursive text or create snakelike movement for a stroke. Using the Write-on effect, you can animate the brush size, color, hardness, and opacity of a stroke. Write-on effect: Animating strokes Adjust the following controls for the Write-on effect: Brush Position Specifies where the stroke begins.
ADOBE PREMIERE PRO 2.0 342 User Guide Time effects Echo effect The Echo effect combines frames from many different times in a clip. It has a variety of uses, from a simple visual echo to streaking and smearing effects. This effect is visible only when there is motion in the clip. By default, any previously applied effects are ignored when you apply the Echo effect.
ADOBE PREMIERE PRO 2.0 343 User Guide Animating the value of the Frame Rate slider can give unpredictable results. For this reason, the only interpolation of the frame rate allowed is Hold. Transform effects Clip effect The Clip effect trims rows of pixels off the edges of a clip and replaces the trimmed areas with a specified background color. Use this effect to trim away noise and pixel skew that may result from overscanning during digitizing.
ADOBE PREMIERE PRO 2.0 344 User Guide Vertical Flip effect The Vertical Flip effect flips a clip upside down. Keyframes cannot be applied to this effect. Vertical Hold effect The Vertical Hold effect scrolls the clip upward; the effect is similar to adjusting the vertical hold on a television set. Keyframes cannot be applied to this effect. Transition effects Block Dissolve effect The Block Dissolve effect makes a clip disappear in random blocks.
ADOBE PREMIERE PRO 2.0 345 User Guide Gradient Layer Specifies the clip used as the gradient. The gradient layer must be in the same sequence as the clip to which you apply Gradient Wipe. Gradient Placement Specifies how the gradient is positioned and sized in the clip: • Tile Gradient Creates multiple tiled copies of the gradient. • Center Gradient Places a single gradient in the center of the clip.
ADOBE PREMIERE PRO 2.0 346 User Guide Video effects Broadcast Colors effect The Broadcast Colors effect alters pixel color values so that the clip can be accurately represented in a television broadcast. Computers represent colors as combinations of red, green, and blue. Consumer video equipment represents colors using different composite signals. Home video equipment cannot reproduce signals above a certain amplitude, and computer-generated colors can easily exceed this limit.
ADOBE PREMIERE PRO 2.0 347 User Guide Timecode effect The Timecode effect overlays a timecode display on your video to make pinpointing scenes and collaborating with team members and clients easier. The timecode display indicates whether the clip is progressive or interlaced. If the clip is interlaced video, the symbol indicated whether the frame is the upper or lower field. Settings in the Timecode effect let you control the display position, size, and opacity, as well as format and source options.
ADOBE PREMIERE PRO 2.0 348 User Guide Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips. The Bandpass effect has the following options: Center Specifies the frequency at the center of the specified range. Q Specifies the width of the frequency band to preserve. Low settings create a wide range of frequencies, and high settings create a narrow band of frequencies.
ADOBE PREMIERE PRO 2.0 349 User Guide Delay effect The Delay effect adds an echo of the audio clip’s sound that plays after a specified amount of time. This effect is available for 5.1, stereo, or mono clip. The Delay effect has the following settings: Delay Specifies the amount of time before the echo plays. The maximum is 2 seconds. Feedback Specifies a percentage of the delayed signal to be added back into the delay to create multiple decaying echoes. Mix Controls the amount of echo.
ADOBE PREMIERE PRO 2.0 350 User Guide Compressor Balances the dynamic range to create a consistent level throughout the duration of the clip by increasing the level of soft sounds and decreasing the level of loud sounds. Use the following controls for Compressor: • Threshold Sets the level (between –60 and 0 dB) that the signal must exceed to invoke compression. Levels that fall below the threshold are unaffected. • Ratio Sets the ratio by which compression is applied, up to 8:1.
ADOBE PREMIERE PRO 2.0 351 User Guide Gain Specifies the amount by which to increase or decrease the band (between –20 and 20 dB). Cut Changes the functionality of the filter from shelving to cutoff. Q Specifies the width of each filter band (between 0.05 and 5.0 octaves). Output Specifies the amount of gain to compensate for increases or reductions of frequency bands on the output gain of the EQ.
ADOBE PREMIERE PRO 2.0 352 User Guide Release 1-3 Specifies the time required for the gain to return to the original level when the signal falls below the threshold. MakeUp 1-3 Adjusts the compressor’s output level (between –6 and +12 dB) to compensate for a loss in gain caused by compression. Multitap Delay effect The Multitap Delay effect adds up to four echoes of the original audio in the clip. This effect is available for 5.1, stereo, or mono clips.
ADOBE PREMIERE PRO 2.0 353 User Guide Formant Preserve Prevents formants in the audio clip from being affected. For example, use this control when increasing the pitch of a high voice to prevent it from sounding cartoon-like. Reverb effect The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room. Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view. This effect is available for 5.
354 Chapter 15: Compositing Transparency (masks, alpha channels) About transparency To create a composite from multiple images, parts of one or more of the images must be transparent. You can use alpha channels, masks, mattes, and keying to define which parts of an image are transparent and which parts of an image will be used to obscure parts of another image. By manipulating transparency and choosing blending modes, you can create a variety of visual effects.
ADOBE PREMIERE PRO 2.0 355 User Guide With straight (or unmatted) channels, transparency information is only stored in the alpha channel, not in any of the visible color channels. With straight channels, the effects of transparency are not visible until the image is displayed in an application that supports straight channels. With premultiplied (or matted) channels, transparency information is stored in the alpha channel and also in the visible RGB channels, which are multiplied with a background color.
ADOBE PREMIERE PRO 2.0 356 User Guide alpha channel in the Program Monitor, white areas indicate opacity, black indicates transparency, and gray indicates partial transparency. Because an alpha channel uses shades of gray to store transparency information, some effects can apply a grayscale image (or the luminosity values of a color image) to an alpha channel. Mask Describes the process of modifying an alpha channel; sometimes used as another word for alpha channel.
ADOBE PREMIERE PRO 2.0 357 User Guide • Applications such as Adobe After Effects, Adobe Photoshop, and Adobe Illustrator can save clips with their alpha channels when the alpha channel is present in the original file and the file is saved to a format that supports an alpha channel. In these applications, you can display a checkerboard pattern that indicates transparency so that you can distinguish transparent areas from opaque white areas.
ADOBE PREMIERE PRO 2.0 358 User Guide See also “To activate keyframing” on page 234 “Alpha Adjust effect” on page 317 To specify clip opacity in the Effect Controls panel 1 Select a clip in the Timeline panel. 2 In the Effect Controls panel, click the triangle next to the Opacity effect to expand its settings. 3 (Optional) If you’re animating the Opacity effect over time, click the Toggle Animation icon current-time indicator is at the time you want in the Effect Controls timeline.
ADOBE PREMIERE PRO 2.0 359 User Guide After you create one or more keyframes on the graph, you can move the keyframes or Opacity handles with either the Selection tool or the Pen tool. To adjust the smoothness of the animation change the keyframe interpolation from linear to Bezier. See also “Controlling change using Bezier keyframe interpolation” on page 243.
ADOBE PREMIERE PRO 2.0 360 User Guide • Select the Eyedropper icon and click anywhere on your computer’s desktop to select a color. The selected color for the Chroma Key or Difference Key appears in the swatch next to the Eyedropper icon. 5 Adjust the key’s settings. If you’re not animating the keying effect over time, you can skip steps 6 and 7. Note: For information about key settings, see the topic for the specific key.
ADOBE PREMIERE PRO 2.0 361 User Guide See also “About keying” on page 355 About the Color Key The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a layer. When you key out a color value in a clip, that color or range of colors becomes transparent for the entire clip. Control the range of transparent colors by adjusting the tolerance level.
ADOBE PREMIERE PRO 2.0 362 User Guide Mask Only Displays only the clip’s alpha channel. Black represents transparent areas, white represents opaque areas, and gray represents partially transparent areas. Drop Shadow Adds a 50% gray, 50% opaque shadow offset 4 pixels down and to the right from the opaque areas of the original clip image. This option works best with simple graphics such as titles.
ADOBE PREMIERE PRO 2.0 363 User Guide The following Non Red Key settings are adjusted in the Effect Controls panel: Threshold Sets the levels of blue or green that determine transparent areas in the clip. Dragging the Threshold slider to the left increases the amount of transparency. Use the Mask Only option to view the black (transparent) areas as you move the Threshold slider. Cutoff Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase transparency.
ADOBE PREMIERE PRO 2.0 364 User Guide See also “About keying” on page 355 Creating transparency and solid colors with mattes About mattes A matte is a still image that determines where to apply an effect to a clip. You can use matte keys to create superimpositions, including traveling mattes. For information on using the mattes, see the topic for a specific matte key.
ADOBE PREMIERE PRO 2.0 365 User Guide 9 Click the Composite Using menu and choose one of the following: Matte Alpha Composites the clips using the alpha channel values of the image matte you selected in step 7. Matte Luma Composites the clips using the luminance values of the image matte you selected in step 7. 10 (Optional) Select the Reverse option to swap the areas that are opaque and transparent.
ADOBE PREMIERE PRO 2.0 366 User Guide 2 Save this frame as an image file. 3 Place the video clip on a track in the Timeline panel. 4 In the Effects panel, expand the Video Effects bin and then the Keying bin. 5 Drag the Difference Matte effect to the video clip. 6 Click the Setup button , browse to the frame you saved, and then click Open to select the image. 7 (Optional) If you’re animating the Difference Matte Key over time, make sure that the current-time indicator is in the position you want.
ADOBE PREMIERE PRO 2.0 367 User Guide See also “About keyframes” on page 230 “Working with keyframes” on page 230 “About alpha channels and mattes” on page 354 To create transparency in a superimposed clip 1 Add the background clip to a track in the Timeline panel. 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.
ADOBE PREMIERE PRO 2.0 368 User Guide The Garbage Matte keying effect provides settings that represent the x and y pixel coordinates of each point of the garbage matte, measured from the top left corner of the frame. Changes appear in the Preview view of the Program Monitor. The microphone (left) is masked out by repositioning image handles in the Preview view of the Program Monitor (center), creating a garbage matte that is then keyed and superimposed over a background (right).
ADOBE PREMIERE PRO 2.0 369 User Guide 3 Select a color from the Adobe Color Picker and click OK. 4 In the Choose Name dialog box, type a name for the new matte and click OK. The matte appears as a still image in the Project panel. Brightly colored mattes can serve as temporary backgrounds to help you see transparency more clearly while you adjust a key effect.
370 Chapter 16: Video output Exporting basics About export When you have finished editing, you can export the final sequence in the form best suited for your viewing audience.
ADOBE PREMIERE PRO 2.0 371 User Guide • Are you adding special effects or processing the video and audio in other ways? Processing tends to degrade image and sound quality, so it’s usually best to use the highest quality source material possible. If maintaining quality outweighs other considerations (such as limiting file size and data rate), then choose a high-quality codec, or one that doesn’t use compression at all.
ADOBE PREMIERE PRO 2.0 372 User Guide • If necessary, reduce the frame size. Generally, it’s best to specify a multiple of the full screen size, taking into account the pixel aspect ratio. For example, if the full screen size is 640 x 480 (square pixels), then try 320 x 240. • If necessary, lower the frame rate. For example, full frame rate is approximately 30 fps (in NTSC); reducing the frame rate to 15 fps should reduce the data rate significantly without making the motion appear too choppy.
ADOBE PREMIERE PRO 2.0 373 User Guide About high-definition (HD) video High-definition video refers to any video format with higher resolution than standard-definition (SD) video formats, such as NTSC and PAL. There are many competing HD video formats, but the most common have a resolution of 1280 x 720 or 1920 x 1080, with a widescreen aspect ratio of 16:9. HD video formats include interlaced and noninterlaced varieties.
ADOBE PREMIERE PRO 2.0 374 User Guide Streaming video Streaming media delivers video over the web or other network without downloading a file to a hard disk, comparable to the way a traditional broadcast works. The bitrate—and therefore the quality—of streaming video is constrained by the bandwidth of the network or modem. When streaming video over the web, you can specify a higher bitrate if you know your audience has broadband Internet access, such as DSL or cable modem service.
ADOBE PREMIERE PRO 2.0 375 User Guide About data rate With some video codecs, you can specify the data rate, which controls the amount of video information that must be processed each second during playback. Specifying a data rate actually sets the maximum data rate, because the actual data rate varies depending on the visual content of each frame. To maximize the quality of encoded video, set the data rate as high as the target delivery medium can support.
ADOBE PREMIERE PRO 2.0 376 User Guide To record to a precise point on a tape, make sure to enable the Adobe Premiere Pro device control feature. Alternatively, you can use compatible third-party device control that enables Adobe Premiere Pro to operate recording devices not supported by the built-in settings. If you don’t have a device that Adobe Premiere Pro can control, you can still play the sequence and record the playback output manually. (See “About device control” on page 68.
ADOBE PREMIERE PRO 2.0 377 User Guide If you’re using equipment that comes with its own software plug-in for use with Adobe Premiere Pro, it may provide device control options different than those described here, and in different locations. (For information, see the documentation for the device.) 1 Make sure that your video recording device is on and that the correct tape is in the device. If necessary, locate and note the timecode for the location at which you want to begin recording.
ADOBE PREMIERE PRO 2.0 378 User Guide Exporting to files Exporting video as a file An edited sequence consists of clips that refer to corresponding media files on a hard disk. Whereas exporting a sequence to tape or DVD continues to rely on those source files, exporting a movie, still, or audio file creates a new, independent file. You can also export a source clip. For example, you may want to use a frame as a still image in a sequence, or recompress a video clip to another format.
ADOBE PREMIERE PRO 2.0 379 User Guide See also “Export settings” on page 381 To export marker data in AVI files In Adobe Premiere Pro, you can export marker data. Exporting marker data is useful if you plan to author a DVD in Adobe Encore DVD. If you export marker data and specify a marker as a chapter point in Adobe Premiere Pro, Encore DVD recognizes the chapter point so that you can easily create links to it as you author your DVD. You can also export comments that you add to markers.
ADOBE PREMIERE PRO 2.0 380 User Guide Exporting still-image sequences Movies are the type of output most useful for easy previewing. However, a sequence of still images from a composition can be used for movie-making and desktop presentations. You can use a sequence of stills in the following ways: • Transfer frames to film using a film recorder. • Create still images for high-end video systems. • Create still images and use them in a presentation. • Select images for publishing or creating storyboards.
ADOBE PREMIERE PRO 2.0 381 User Guide When you export still images from DV for use in square-pixel graphics or video, you can prevent distortion by setting the Pixel Aspect Ratio to Square Pixels (1.0) and setting the Frame Size from 720 x 480 to 640 x 480 pixels. To export audio as a file You can export the audio portion of any sequence, without the video, into an audio file. When you export audio, the Video option is automatically deselected and unavailable.
ADOBE PREMIERE PRO 2.
ADOBE PREMIERE PRO 2.0 383 User Guide Range Choose whether to export an entire sequence or clip, or a range of frames based on the work area of a sequence, or from the In point to the Out point of a clip. Export Video Select to export the video tracks, or deselect to prevent exporting video tracks. Export Audio Select to export the audio tracks, or deselect to prevent exporting audio tracks. Add to Project When Finished Select to add the exported file to the Project panel after exporting is complete.
ADOBE PREMIERE PRO 2.0 384 User Guide Quality If available, drag the slider or type a value to affect the exported video’s picture quality and, consequently, its file size. If you are using the same codec to capture and export, and you’ve rendered previews of a sequence, you can save rendering time by matching the export quality setting with your original capture quality setting. Increasing quality above the original capture quality does not increase quality, but may result in longer rendering times.
ADOBE PREMIERE PRO 2.0 385 User Guide Audio export settings The following options are available in the Audio panel of the Export Movie Settings dialog box and the Export Audio Settings dialog box: Compressor Specify the codec for Adobe Premiere Pro to apply when compressing audio. The codecs available depend on the File Type you specified in the General panel in the Export Movie Settings or Export Audio Settings dialog box.
ADOBE PREMIERE PRO 2.0 386 User Guide When exporting a movie file for delivery media other than full-screen, full frame-rate television, it is often necessary to deinterlace the frames, crop the image, or apply certain filters. Through the Export Settings dialog box, the Adobe Media Encoder offers these tasks as pre-rendering options, because it’s best to perform them prior to encoding the file.
ADOBE PREMIERE PRO 2.0 387 User Guide 2 In the Source or Output panel menu, choose either of the following options: Aspect Corrected Preview Displays the image, correcting for differences between the source file’s native pixel aspect ratio (PAR) and your computer screen. 1:1 Pixel Preview Displays the image using a square PAR. If the source file’s native PAR uses non-square pixels, the image may appear distorted on a computer screen.
ADOBE PREMIERE PRO 2.0 388 User Guide 6 To crop the image, specify cropping options in the Source panel. To deinterlace the image, select Deinterlace in the Output panel. 7 To specify XMP data, choose XMP Info in the tabbed panel menu and then enter information in the dialog box. Note: The XMP Info option is available when exporting MPEG-1, MPEG-2, or QuickTime formats. 8 Click OK to begin encoding.
ADOBE PREMIERE PRO 2.0 389 User Guide 3 Navigate to the location of the preset, select it, and then click Open. 4 Type a name for the imported preset and specify other options and then click OK. To export a preset 1 In the Adobe Media Encoder, choose the format and preset you want to export. 2 Alt-click the Save Preset button . 3 Choose the location to save the preset, name it, and then click Save. Adobe Premiere Pro saves the preset as a .vpr file.
ADOBE PREMIERE PRO 2.0 390 User Guide Windows Media One of Microsoft’s multimedia architectures that includes a number of codecs, particularly those for web delivery. The Adobe Media Encoder Export Settings dialog box is useful for setting options for Windows Media streaming media codecs. Note: For more detailed information about each format, see the developer’s website.
ADOBE PREMIERE PRO 2.0 391 User Guide Note: When comparing CBR and VBR files of the same content and file size, you can make the following generalizations: A CBR file may play back more reliably over a wider range of systems, because a fixed data rate is less demanding on a media player and computer processor. However, a VBR file tends to have a higher image quality, because VBR tailors the amount of compression to the image content.
ADOBE PREMIERE PRO 2.0 392 User Guide About MPEG MPEG is the name of a family of file formats specified by the ISO/IEC Moving Picture Experts Group. MPEG formats include several compression methods. It requires significant processing power and time to generate these keyframe-based file formats from other video formats. MPEG-1 Generally used for the Internet and CD-ROM, providing picture quality comparable with VHS quality at quarter-screen frame size. MPEG-2 Delivers higher quality video than MPEG-1.
ADOBE PREMIERE PRO 2.0 393 User Guide Adobe Media Encoder Alternates and Audiences options Specifying a streaming media codec in RealMedia or Windows Media formats enables Audiences options, while QuickTime streaming media codecs enable a similar set of Alternates options. Both allow you to output variations of a movie suited to different network speeds. The player software associated with the format detects and selects the most appropriate version to ensure smooth playback.
ADOBE PREMIERE PRO 2.0 394 User Guide Note: Removing an item from the Alternates or Audiences list can’t be undone. To specify QuickTime Alternates options 1 In the Adobe Media Encoder Export Settings dialog box, specify a QuickTime for Format, and then choose a streaming option from the Preset menu. 2 In the Alternates panel, select any of the following options: Loop Plays the movie in a continuous loop. Compress Movie Header Reduces the file size of the file.
ADOBE PREMIERE PRO 2.0 395 User Guide To specify Windows Media Audiences options 1 In the Adobe Media Encoder Export Settings dialog box, specify a Windows Media for Format, and then choose a streaming option from the Preset menu. 2 In the Audiences panel, specify an option for Output: Compressed Specifies that the codec you select in the Video tab is applied. This is the default setting, and most appropriate for most users. Uncompressed Specifies that no compression is applied.
ADOBE PREMIERE PRO 2.0 396 User Guide To deinterlace the source prior to encoding ❖ In the Output panel of the Export Settings dialog box, select Deinterlace. To crop the source prior to encoding 1 In the Export Settings dialog box, click the Source tab to activate the Source panel. 2 Select the Crop button and do any of the following: • To crop the image interactively, drag the sides or corner handles of the crop box around the source image.
ADOBE PREMIERE PRO 2.0 397 User Guide About AAF export Advanced Authoring Format (AAF) is a multimedia file format that allows you to exchange digital media and metadata between platforms, systems, and applications. Authoring applications that support AAF, such as the Avid Xpress family of editing products (generally referred to as “Avid Xpress”), read and write the data in AAF files to the extent that they support the format. AAF is a widely recognized file-exchange standard for video editing.
ADOBE PREMIERE PRO 2.0 398 User Guide Nested sequences The plug-in builds the master composition from the nested sequences recursively (because Avid Xpress does not support linking to the nested sequences). Therefore, in the AAF file, there’s no linking between the master composition and the nested sequences. Titles The plug-in converts titles to offline media in Avid Xpress. Bin hierarchy Avid Xpress places all items into a single bin. Projects with multiple bins convert into one bin.
ADOBE PREMIERE PRO 2.0 399 User Guide When either trimming or collecting a project, you can specify whether the new project retains any of the unused clips from the original project. Note: Project Manager retains any effect keyframes and clip markers that exist beyond the In and Out points of a trimmed clip. To trim or copy your project You should consider using the “Include” options below when backing up or archiving your footage.
ADOBE PREMIERE PRO 2.0 400 User Guide ensures that the file name of the actual captured footage is updated to reflect the new name in the Project window, greatly simplifying the organization of your footage files. Note: If you rename captured clips, and then select the Make Offline option, the subsequent copied project retains and displays the original file name, not the new name. Project Destination Designates where Project Manager saves the files you specified.
ADOBE PREMIERE PRO 2.0 401 User Guide Stream Video Posts the rendered sequence to a network server with a link to the PDF file instead of embedding it in the PDF. You must upload the rendered sequence to a server either manually or by using the FTP options within Clip Notes. (You and your reviewers must have access to an FTP server that is also a web server.
ADOBE PREMIERE PRO 2.0 402 User Guide • To save your comments, click the Save Comment button . • To modify a comment, cue to the comment and then edit the text in the box. • To delete a comment, cue to the comment and then click the Delete Comment button . 6 When you are finished adding comments, click the Export button. 7 Specify the name and location of the file and then click Save. The file uses the .xfdf file extension.
403 Chapter 17: Creating DVDs DVD creation overview Creating DVDs You can burn a sequence to DVD directly from Adobe Premiere Pro, or save encoded files to a folder or as an ISO image that you can burn later with other DVD-burning software. You can create auto-play DVDs or menu-based DVDs. Adobe Premiere Pro provides several DVD menu templates that you can use as designed, or customize them to create a DVD. Adobe Premiere Pro creates DVDs that conform to DVD-video format.
ADOBE PREMIERE PRO 2.0 404 User Guide If you are creating an auto-play DVD you can add scene markers so that the viewer can use a DVD player’s remote control to move from scene to scene. 2. Choose a menu template. Adobe Premiere Pro templates are predesigned menus that come in several styles. Buttons on the templates automatically link to DVD markers placed in the sequence. Adobe Premiere Pro creates additional submenus as necessary to accommodate all the DVD markers in a sequence.
ADOBE PREMIERE PRO 2.0 405 User Guide DVD markers About DVD markers The type of DVD markers you add to a sequence depends on how you want your viewers to access the video. In general, use these guidelines: • Use main menu markers (and stop markers) to divide the video into separate movies. Buttons on the main menu link to main menu markers.
ADOBE PREMIERE PRO 2.0 406 User Guide A B Duplicate menus are created when movie contains more main menu markers than buttons. A. Next button leads to duplicate menu. B. Previous button returns user to main menu. See also “About DVD markers” on page 405 “To add a main menu marker or scene marker” on page 406 Scene markers You can add DVD scene markers automatically or manually where desired.
ADOBE PREMIERE PRO 2.0 407 User Guide On some templates, the menu buttons include thumbnail images of the video to which they are linked. By default, the thumbnail displays the frame visible at the position of the marker. However, the default frame does not necessarily represent the best frame for a button. In the DVD Marker dialog box, you can change the frame a thumbnail displays. 1 In the Timeline panel, move the current-time indicator to the location where you want to set the marker.
ADOBE PREMIERE PRO 2.0 408 User Guide See also “About DVD markers” on page 405 To automatically add scene markers to a sequence You get the best results when automatically adding scene markers if each scene in your movie is a separate clip, and all the clips you want marked are on the Video 1 track. When your movie consists of multiple clips that overlay each other, you may prefer to place scene markers manually or place them at set intervals.
ADOBE PREMIERE PRO 2.0 409 User Guide To delete a DVD marker You can delete individual DVD markers or clear all markers from the sequence at once. If you have edited a movie since you first selected DVD menu templates, you may find it is easier to delete all the markers at once, rather than drag them to new positions. Note: If you have already selected a DVD template, deleting a DVD marker also deletes the button associated with the marker from the main menu or scenes submenu.
ADOBE PREMIERE PRO 2.0 410 User Guide To choose a DVD menu template After you set the DVD markers, you are ready to select the DVD menu template. When choosing a template, don’t worry if the menu doesn’t have enough menu buttons to match each DVD marker in your movie. Adobe Premiere Pro creates additional menus as needed. When you select a template, the button text on the menus changes to the names you’ve given the DVD markers.
ADOBE PREMIERE PRO 2.0 411 User Guide To view overlapping buttons You can make sure that buttons on a DVD menu don’t overlap if the button text is too long. ❖ Choose Show Overlapping Menu Buttons from the DVD Layout panel menu. Overlapping buttons are outlined in red. To edit menu text and buttons After you select the DVD template, you can change menu text or the appearance of any of the main menu or scene buttons. You can also delete any button.
ADOBE PREMIERE PRO 2.0 412 User Guide 3 Do any of the following in the Effect Controls panel: • To change the font, choose one from the Font menu. (You may have to select the triangle next to Text to see the text attribute options.) • To set a text style, choose an option from the Font Style menu, or click the Bold, Italic, or Underline icons. You can click more than one icon. • To change the text size, choose an option from the Text Size menu.
ADOBE PREMIERE PRO 2.0 413 User Guide A B Menu background options A. Video drop zone B. Audio drop zone Note: When both video and audio are set and you replace one of the clips, the other clip remains set. 3 Specify settings in the Effect Controls panel: Reset Sets the background to the original template background. Play Plays media in the thumbnail. The icon changes from the Play button to the Pause button Pause button to stop the playback and set the In point (start) of the background. .
ADOBE PREMIERE PRO 2.0 414 User Guide 4 To preview the DVD and test the markers, click Preview DVD in the DVD Layout panel. Use the Play button, Previous Scene, and Next Scene buttons to simulate a DVD player’s remote control. (See “To preview a menu-based DVD” on page 414.) 5 Click Burn DVD. (See “To burn a DVD disc, or save to a DVD folder or ISO image” on page 415.
ADOBE PREMIERE PRO 2.0 415 User Guide If your DVD burner is not compatible with Adobe Premiere Pro, you can burn the project to a folder, which allows you to use the software included with the burner to burn the final DVD. (See “To burn a DVD disc, or save to a DVD folder or ISO image” on page 415.) Creating DVDs for different regions If you are sharing your DVD with someone from a different country, you may need to burn the DVD using a different television standard.
ADOBE PREMIERE PRO 2.0 416 User Guide Folder Location, File Location Specifies the folder or file location if burning to a folder or ISO file. Click Browse to navigate to a new location. Status Displays the status of the DVD drive and whether the disc has sufficient space to burn your sequence. You may need to reduce your quality setting. Copies Specifies the number of copies of a DVD to burn.
417 Chapter 18: Keyboard shortcuts Finding and customizing keyboard shortcuts About keyboard shortcuts Adobe Premiere Pro provides a set of keyboard shortcuts. Because many commands and buttons have keyboard equivalents, you can edit a video program with minimal use of the mouse. You can also create or edit keyboard shortcuts by using the Keyboard Customization command. In the Keyboard Customization dialog box, the default shortcut set is called Adobe Premiere Pro Factory Defaults.
ADOBE PREMIERE PRO 2.0 418 User Guide 5 Click in the item’s shortcut field to select it. 6 Type the shortcut you want to use for the item. If the shortcut is already in use, you are asked to either replace the existing shortcut or cancel. 7 To erase a shortcut so you can enter a different one, click Undo. Click Redo to restore the previously entered shortcut. 8 Repeat the procedure to enter as many shortcuts as you want. When you’re finished, click Save As, type a name for your Key Set, and click Save.
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ADOBE PREMIERE PRO 2.0 420 User Guide Result Shortcut Step back Left Arrow Step forward Right Arrow Stop S Keys for the DVD Layout You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below. Result Shortcut Decrement - Increment = Move down Down Arrow Move left Left Arrow Move right Right Arrow Move up Up Arrow Keys for the Multi-Camera Monitor You can find most keyboard shortcuts in menu commands and tool tips.
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ADOBE PREMIERE PRO 2.0 425 User Guide Result Shortcut Focus on both Outgoing and Incoming sides Alt + 1 Focus on Incoming side Alt + 3 Focus on Outgoing side Alt + 2 Trim backward by large trim offset Alt + Shift + Left Arrow Trim backward by one frame Alt + Left Arrow Trim forward by large trim offset Alt + Shift + Right Arrow Trim forward by one frame Alt + Right Arrow Keys for Adobe Bridge This is not a complete list of keyboard shortcuts.
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427 Index Numerics 24P mode 34 deleting links 161 24P playback settings 35 Import After Effects Composition command 160 24P timecode 36 3D Glasses effect about 291 ghost effects 292 red, blue, and green glasses 292 4-Color Gradient effect 326 5.
INDEX Alpha Glow effect 335 audio bit depth 385 Auto Contrast 264 analog media audio blocks.
INDEX Bezier shapes, setting options for 217 bypass option, for audio effects 347 bins adding and deleting 95 creating 259 channels See also alpha channels C cache 5.
INDEX rearranging 136 colors copyright information, adding 53 relinking 145 adjusting 285, 315, 317 Corner Pin effect 306 removing all from one track 135 bit depth 383 corner points removing color from 275 isolating 315 selecting 132 matching 315 corrections 38 source of 131 removing 286, 313 counting leader 146 replacing 315 crawling titles splitting 134, 135 converting to smooth points 216 transparent 147 combing.
INDEX Deselect All command 46 dropped frames 71, 96, 377 overlapping buttons 411 developer resources dual-layer discs 414 preparing content for 404 scripting guides 7 duplicate clips 107 previewing 414 SDK documentation 7 Duplicate command 47 device control duration types of 403 about 68 about 127 Dynamic Link.
INDEX displaying effect controls 256 Export To Tape command 377 viewing keyframes and graphs 231 exporting viewing transitions in 167 effect properties conversion in Adobe Premiere Pro 156 effects about 370 audio 381, 385 Clip Notes 400 edit decision lists (EDLs) 396 file formats for 381 removing color casts 263 using levels 268 FAT32 format about 37 exporting to 66 field dominance in exported files 384 See also individual effect name for web 372 Field Interpolate effect 346 accelerating and dece
INDEX Full view, in Adobe Help Center 5 H H.
INDEX In Shift display 127 In Shift timecode number 127 Increase Font Size command 52 Increase Rating command 49 changing interpolation methods 242 copying and pasting in Effect Controls panel 240 Info panel 17 copying and pasting in Timeline panel 241 Insert button 120 deleting 237 Insert icon 118 displaying properties of 233 installing software 1 of effect properties 110 interlaced video 129, 130 evaluating data rate for compression 96 interlaced video fields, in exported files 384 layer-tim
INDEX luminance matching frames mistakes, correcting 38 adjusting with curves 267 from nested sequence 149 mistakes, correcting and undoing 38 adjusting with levels 268 in Timeline and Source Monitor 104 mixing measuring 279 quick corrections 264 luminance keying.
INDEX New Folder command 48 opacity Paste command New Project command 23 adjusting 357 and current-time indicator 133 New Reference Monitor command 104 editing in Timeline panel 239 in Bridge 47 New Window command 41 of titles 219 No Label command 48 Opacity values, conversion in After Effects 157 No Rating command 49 Open command Noise Alpha effect 322 in Bridge 46 and keyframes 241 Paste Insert command 133 path text about 208 creating in titles 208 Noise effect 338 Open dialog box 27
INDEX plug-ins ganging with Reference Monitor 104 Rate Stretch tool 129 effects 251 in Adobe Store 8 playback 102 setting audio units in 178 Razor At Current Time Indicator command 134 time controls 99 Razor tool 134 point text compared to paragraph text 208 scaling 220 progressive scanning 130 in titles 207 Project Manager Polar Coordinates effect 308 about 398 Portable Document Format.
INDEX Reveal In Explorer command 47 Reveal In Project command 131 S Safe During Write command 200, 201 Reverb effect 353 Safe Margins button 100 Revert command 38 safe zones Reveal In Finder command 47 Select Labeled command 46 Select Unlabeled command 46 selecting clips 132 files, in Bridge 46 about 207 Selection tool 18 about 300 title 207 self-contained movie 394 defining tonal ranges 271 viewing in Source and Program Monitors 100 Send To Recycle Bin command 47 RGB Color Corrector effect
INDEX Show Camera Raw Files Only command 45 synchronizing with Timeline panel 104 Show Folders command 45 time controls 99 Show Graphic Files Only command 45 source tracks 116 speed stop markers about 405 adding 407 deleting 409 moving 408 Show Hidden Files command 45 about 128 Show Thumbnail Only command 45 straight channels 355 changing using duration 128 Show Vector Files Only command 45 streaming video changing using percentage 128 Show/Hide Tracks command 177 changing with Rate Stretch
INDEX synchronizing leading 210 diagonal warning bars 164 clips 145 slant 210, 211 editing keyframe graphs 239 video and audio 145 small caps 210 editing keyframes in 230 tracking 210, 211 moving clips 135 underline 210 scrolling 138 underlining 211 scrolling by screenfuls 110 synchronizing Source Monitor and Timeline panel 104 T tabs text tools 207 setting audio units 178 texture specifying keyframe values 239 about 211 adding to objects in titles 222 deleting 212 adding to titles 2
INDEX specifying properties in 210 deleting 113 transparent video 147 vertical 207 display style 111 traveling matte 366 editing audio 175 traveling mattes 366 about 12 excluding 112 Treat As Stereo command 181 Font Browser preferences 210 expanding and collapsing 111 Treble effect 353 style swatch preferences 226 locking and unlocking 112 Trim button 126 moving clips 136 Trim Monitor Titler Titler panels Titler Actions 203, 218 removing clips 135 looping edit 126 Titler main panel 2
INDEX unlinking videotape audio and video 145 device control 377 clips 145 recording to 375, 376, 377 unmatted channels 355 Unsharp Mask effect 290 viewing area bar updates, software 8 in Source and Program Monitors 100 updating in Timeline panel 108, 109 software and Help topics 2 user forums 7 V Value and Velocity graphs, adjusting 238 Variable Bit Rate. See VBR encoding VBR encoding 390 VCD format viewing mode in Reference Monitor 104 views in Adobe Help Center 5 Virtual Studio Technology.
