Adobe Premiere Pro Help Using Help | Contents | Index Using Help Back 1 Using Help About Help Adobe Systems Incorporated provides complete documentation in an Adobe PDF-based help system. This help system includes information on all tools, commands, and features of an application. It is designed for easy on-screen navigation and can also be printed and used as a desktop reference. Additionally, it supports third-party screen-reader applications that run in a Windows environment.
Adobe Premiere Pro Help Using Help | Contents | Index Using Help Back 2 To find a topic using the Search command (Acrobat 6): 1 Choose Edit > Search. 2 Type a word or phrase in the text box and click Search. Acrobat searches the document and displays every occurrence of the word or phrase in the Results area of the Search PDF pane. To find a topic using the Find command (Acrobat 5): 1 Choose Edit > Find. 2 Type a word or phrase in the text box and click Find.
Adobe Premiere Pro Help Using Help | Contents | Index Contents Back 3 Back 3 Contents Learning About Adobe Premiere Pro 4 Key Features in Adobe Premiere Pro 10 Tutorials 15 Work ing with Projects 40 Capturing and Importing Source Clips 63 Assembling a Sequence 103 Editing a Sequence 138 Adding Transitions 162 Mixing Audio 171 Using the Adobe Title Designer 193 Superimposing and Compositing 219 Applying Effects 235 Producing Final Video 289 Keyboard Shortcuts 312 Legal Notices 314 Using Help | Conten
Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 4 Learning About Adobe Premiere Pro Welcome Welcome to Adobe® Premiere® Pro, a revolutionary nonlinear video-editing application that delivers a breakthrough render-free experience. Its high-performance toolset takes video and audio production to a new level, giving you a professional edge.
Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 5 If you . . . Try this . . . Want step-by-step instructions Try one of the tutorials available on the Adobe Web site. (See “Adobe Premiere Pro support page” on page 8.) Are looking for detailed Use the index or search for the feature in Help. information about a feature Are looking for background Go to www.adobe.com/products/premierepro and look for backinformation on digital video ground information.
Adobe Premiere Pro Help Using Help | Contents | Index Learning About Adobe Premiere Pro Back 6 • Make a clip uniformly transparent by changing the Opacity value (see “Adjusting opacity” on page 221). • If a clip’s transparency is defined by a specific color, apply a keying effect (see “Using keys” on page 227). • If transparent areas are marked by another file, such as a matte, apply the matte to the clip (see “Using matte keys” on page 230).
Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 7 If you want to customize your editing environment Adobe Premiere Pro’s flexible interface lets you work the way that’s best for you and your projects.
Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 8 Other learning resources In addition to the information included with your application, Adobe provides several other learning resources.
Adobe Premiere Pro Help Learning About Adobe Premiere Pro Using Help | Contents | Index Back 9 You can choose to submit the form directly or fax a printed copy. You can also register by filling out and returning the registration card included with your software package. Customer support When you register your product, you may be entitled to technical support. Terms may vary depending on your country of residence.
Adobe Premiere Pro Help Key Features in Adobe Premiere Pro Using Help | Contents | Index Back 10 Key Features in Adobe Premiere Pro Introduction Adobe Premiere Pro is a high-performance toolset that takes video and audio production to a new level, giving you a professional edge. Delivering frame-accurate control for shortand long-format projects, Adobe Premiere Pro enables you to produce precise results every time.
Adobe Premiere Pro Help Key Features in Adobe Premiere Pro Using Help | Contents | Index Back 11 Keyframeable visual effect parameters Use the new Effect Controls window to set keyframes for individual effect parameters and create effects with unprecedented control. For information on keyframing, see “About the Effect Controls window” on page 237. Customizable keyboard shortcuts Use the new Keyboard Customization window to edit shortcuts for commands, tools, and other options to match your preferences.
Adobe Premiere Pro Help Key Features in Adobe Premiere Pro Using Help | Contents | Index Back 12 Export to AAF Easily exchange Adobe Premiere Pro projects for more finishing work: Export them as AAF (Advanced Authoring Format) files, an industry-endorsed open interchange format. For information on AAF, see “Exporting to AAF” on page 300. Work with enhanced audio capabilities Take advantage of powerful new audio controls and built-in ASIO and VST support to make your audio punch like never before.
Adobe Premiere Pro Help Using Help | Contents | Index Key Features in Adobe Premiere Pro Back 13 Edit with precision Take advantage of Adobe Premiere Pro’s ability to apply transitions to multiple clips. Move clips around easily and work with multiple edit points at once. Then preview how your rendered footage will look before actually rendering it. Take advantage of editing improvements Apply transitions on any video track, and automatically apply default transitions to overlapping clips.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 15 Tutorials Logging and Capturing Clips from DV Tape In Adobe® Premiere® Pro, you can use the comprehensive set of controls in the Capture window to log and automatically capture DV footage to your hard disk. You can quickly and efficiently log clips you want to capture, then batch-capture them all in one session. 1. Connect your DV device.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 16 3. Open the Capture window and make sure it sees the device. Choose File > Capture, or press F5. The status line above the preview area tells you about the connection between your device and Adobe Premiere Pro. If the status line reads “Capture device offline,” check to make sure all cable connections are secure and the device is on.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 17 The only other options you may want to set before logging are Scene Detect and Handles. Scene Detect automatically splits a tape into multiple clips based on scene breaks that Adobe Premiere Pro detects, such as when you pause the tape while recording. Handles are extra frames you capture so that you have flexibility for editing and transitions.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 18 The Device Control section includes Device settings you can adjust if Adobe Premiere Pro has trouble recognizing your device. The lower part of the Device Control section contains settings you can adjust in the course of normal capture; however, for DV capture the only option you might use is Abort Capture On Dropped Frames.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 19 As you log clips, feel free to adjust options as necessary as the content on the tape changes. For example, as the tape plays back, you can adjust the Log Clips To Bin or the Clip Data options as you anticipate an upcoming scene.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 20 Generate a Sequence Automatically Of all filmmaking tools, few are as useful as the storyboard. Before you shoot, a storyboard helps you visualize and plan your project. During production—when you're acquiring shots out of sequence, sometimes days apart—a storyboard can preserve your sense of continuity. So once the shots are complete, it only seems natural to arrange them into storyboard form before committing them to a rough cut.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 21 2. Set each clip’s thumbnail image. Select a clip to view it in the preview area at the top of the Project window. Press the Play button next to the preview image, or drag the scroll bar under the preview image to cue the clip to a representative frame. When you’ve found an image that best signifies the clip’s contents, click the Poster Frame button to set the clip’s thumbnail image.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 22 3. Arrange the clips into a storyboard. In the Project window, drag the clips into the order you want them to appear in the sequence. Arrange them from left to right, top to bottom, in storyboard fashion. You can drag a marquee to select a group of clips or Ctrl-click to add or subtract from your selection. Clips shift forward in the storyboard to make room for clips you drop into an occupied space in the grid.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 23 You should set In and Out points to define the parts of the clips you want to use, especially when the source clips include more footage than you plan to include in the final sequence. However, you don’t need to be too meticulous: Many editors use the storyboard method to create a quick rough cut and refine the sequence later. 5. Create duplicate clips as needed.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 24 6. Select the clips to add to the sequence. Once you’ve completed your storyboard, select the shots you want to include in the sequence. To select all the shots in the Project window, choose Edit > Select All. If you don’t want to include everything in the storyboard, you can drag a marquee to select a group of shots or Ctrl-click to add and subtract shots from your selection.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 25 Animating an Adobe Photoshop File You can make sophisticated compositions in Adobe® Premiere® Pro by adding motion graphics to your video clips. Import multilayered graphics from Adobe ® Photoshop® and manipulate their scale, skew, and position. Every track is a compositing track that includes an alpha channel so that transparency is built in. Just add layers, adjust, and go! 1. Import Adobe Photoshop files.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 26 2. Optimize your work area to use effects. Adobe Premiere Pro uses effects to animate layers and provides a workspace setting designed specifically for this task. Choose Window > Workspace > Effects to open the Effect Controls window, docked in the Monitor window. Click the tab to view its contents. 3. Set keyframes for the Motion effect. To animate clips, use the Motion effect.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 27 Next, position the selection tool on the image in the Program view. To adjust scale or rotation, position the selection tool over a handle and drag when the rotation or scale cursor appears. To adjust position, place the selection tool anywhere on the clip (except on a clip handle) and drag. Use a combination of adjustments to set the graphic’s starting position. 5. Animate the graphic.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 28 6. Adjust the motion path in the Program view. To create more interesting animations, you can adjust the shape of the motion path and change the interpolation method for your keyframes. In the Effect Controls window, move the current-time indicator to the middle of the timeline and click the Add/Remove Keyframe button to add a new Position keyframe.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 29 Apply an Effect to an Entire Nested Sequence In Adobe® Premiere® Pro, you can nest a sequence within another sequence. When you apply an effect to a nested sequence, the effect applies uniformly to all clips in the sequence, so nesting is a great way to apply an effect to multiple clips at one time. Once you organize each section of a video program into sequences, you can nest them all in a master sequence for your video program.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 30 You’ll be nesting the sequence containing clips in the other sequence, which is still empty. You’ll use the other sequence as the master sequence for your video program. 3. Add the sequence of clips to the master sequence. In the Timeline window, click the tab for your master sequence to bring it to the front. Then, in the Project window, drag the icon for the sequence containing clips to the master sequence in the timeline.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 31 4. Apply the effect. Choose Window > Effects, locate the effect you want to apply, and drag it to the nested sequence in your master sequence. 5. Preview the effect. Play back your master sequence. The effect is applied uniformly to all clips in the nested sequence. If you play back the nested sequence, you won’t see the effect applied, because it is applied within the sequence where it’s nested.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 32 Create Rolling Multicolumn Titles Give the performers and crew in your productions the credits they deserve. By using the tab stop and rolling title features in the Adobe Title Designer in Adobe ® Premiere® Pro, you can easily create professional, rolling multicolumn titles. 1. Set the title to roll. In Adobe Premiere Pro, choose File > New > Title to open the Adobe Title Designer. From the Title Type menu, choose Roll.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 33 3. Display the tab markers. Choose Title > View > Tab Markers. No tab markers appear yet—you won’t see them until you create tab stops. 4. Create tab stops. Click the Tab Stops button . You create all tabs in this dialog box, using the ruler (which is marked in increments of points) and the tab markers for placement. To create a tab, click one of the three buttons in the Tab Stops window.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 34 The Font Browser is also a great tool for experimenting with fonts: Click a new font in the list, and the font in the drawing area changes accordingly. Use the Font Browser to sample a variety of fonts instantly. 6. Type your text. Select the horizontal type tool, click where you want to type the first line of text, and begin typing. After you type the first set of characters, press Tab and type the next set.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 35 The Crawl Direction choices in the Roll/Crawl Options dialog box pertain to text you typed in a text box that is longer horizontally than it is vertically. In this instance, text would move left or right across the image, or crawl. If you choose to create a crawling title (not represented here), select one of these options. 8. Preview the roll. Close the title window and save the title when prompted.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 36 9. Experiment with the settings. Double-click the title clip to return to the Adobe Title Designer. Use the Font Browser or the Font Size Object Style to adjust the characters. You may need to resize the text box to accommodate the changes. You can also change the Roll/Crawl options to tweak the roll timing.You can also create other object styles for the fonts, such as shadows, textures, and sheens.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 37 2. Set sequence markers to create chapters. To navigate to various points in your movie, place sequence markers at strategic points in the Timeline window, such as the beginning of each new scene. To add numbered or unnumbered markers, choose Marker > Set Sequence marker. Set markers no closer than 15 frames apart. Each marker serves as a chapter that you can navigate to by pressing the Chapter buttons on your DVD remote control.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 38 4. Define the length of the DVD movie. Adobe Premiere Pro exports the entire timeline to DVD by default. To prevent the project from exceeding the DVD’s capacity, define the area of the timeline you want to export by dragging the work area bar. 5. Select your DVD burner. When your project is ready for export, place an unused DVD disc in the DVD drive and choose File > Export > Export To DVD.
Adobe Premiere Pro Help Using Help | Contents | Index Tutorials Back 39 7. Burn the DVD. Once you’ve selected all your settings, click the Record button to start burning the DVD. If you receive a message indicating that the required disc space is higher than the DVD disc's capacity, choose a lower-quality encoding preset or shorten the export range of your timeline and then try burning the DVD. 8. Play your movie.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 40 Working with Projects About projects A project is a single Adobe Premiere Pro file that contains video sequences and references to the media associated with the sequences. A project also stores information about sequences and media, such as settings for media capture, transitions, and audio mixing.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 41 3 For Location, specify where you want to store the project on disk. 4 For Name, type the name of the project, and then click OK. Note: Whenever possible, specify a location and name that you won’t have to change later. By default, Adobe Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 42 Skip All Removes all references to all missing files throughout the project, without asking you for confirmation. Important: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project. If you want to keep the file in the project but can’t locate it at the moment, use Offline instead.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 43 To automatically save a project or series of projects: 1 Choose Edit > Preferences > Auto Save. 2 Do any of the following, and then click OK: • Select Automatically Save Projects, and type the number of minutes after which Adobe Premiere Pro will save the project. • Type a number for the Maximum Project Versions to specify how many versions of each project file you want to save.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 44 • The Project window is where you import, organize, and store references to clips. It lists all source clips that you import into a project, though you don’t have to use every clip you import. The Project window is also where you organize batch lists of offline files to be captured and where clips are listed after you capture them. • The Monitor window can include the Source and Program views.
Adobe Premiere Pro Help Using Help | Contents | Index • Working with Projects Back 45 If a window contains more tabs than Adobe Premiere Pro can display at once, drag the slider bar that appears above the tabs. Using workspaces Adobe Premiere Pro comes with preset window arrangements that let you reconfigure the windows for specific tasks such as editing effects or audio. You can create and save custom window layouts and apply them to any project.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 46 To play back a clip in the Project window: 1 Select the clip. 2 Press the Play button on the thumbnail viewer. The Play button becomes a Stop button. Press Stop to stop playback. (Playing the clip in the thumbnail viewer does not affect Monitor window views.) To designate a clip frame as a poster frame: 1 Select the clip in a Project window.
Adobe Premiere Pro Help Using Help | Contents | Index • Working with Projects Back 47 To find any item in a project or folder, based on the contents of any column in List view, choose Edit > Find or click the Find button , specify options, and click Find. Using source clips, clip instances, and duplicate clips Clips can be used as source clips, clip instances, or duplicate clips. All types of clips can be edited in sequences in the same way.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index • Back 48 To organize media types, such as DV captures, Adobe Photoshop still images, and audio files. A G B C D E F H I J K L M N Project window A. Close Project B. Thumbnail viewer C. Set poster frame D. Play thumbnail E. Bins F. Clip G. Project window menu H. List view I. Icon view J. Automate to Sequence K. Find L. New Bin M. New Item N.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 49 Using libraries from Adobe Premiere 6.5 or earlier Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects. A library is a separate file apart from any project. Although Adobe Premiere Pro doesn’t directly support libraries, you can open a library. The library converts to a bin when you open it as an Adobe Premiere Pro project.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 50 To sort items in List view: Click the column heading by which you want to sort the items. If bins are expanded, items sort from the top level and down the Project window hierarchy. To reverse the sort order, click the column heading again. Note: To customize the columns in List view, see “Using List view columns” on page 51.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 51 Name By default, displays the clip name on disk. You can change the name the clip uses inside the project. You cannot remove the Name field. See “Naming, finding, and deleting Project window items” on page 47. Label Color that helps identify and associate clips. See “Using labels” on page 53. Media Type The kind of media, such as Movie or Still Image. Media Start The timecode when capture started.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 52 Offline Properties Whether the source of an offline clip contains video, audio, or both. Scene Text that was entered using the Capture window’s Scene option when capturing video using Adobe Premiere Pro. Shot/Take Text that was entered using the Capture window’s Shot/Take option when capturing video using Adobe Premiere Pro. Client Text intended for the name of the client. Compressor The compressor used by the clip.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 53 Changing palette display You can change the display of palettes so that they are arranged effectively with windows. To show and hide palettes: Do one of the following: • To show a palette, choose its name from the Window menu or click its tab if visible. • To hide a palette, click the close box on its tab. • To hide or show all open palettes, press the Tab key.
Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 54 • Each state is listed with the name of the tool or command used to change the project as well as an icon representing the tool or command. Some actions generate a state for each window affected by the action, such as the Adobe Title Designer. Actions you perform in such a window are treated as a single state in the History palette.
Adobe Premiere Pro Help Using Help | Contents | Index • Working with Projects Back 55 For keyboard shortcuts not shown in tool tips or on menus, see the Shortcuts Appendix, or choose Edit > Keyboard Customization. The Keyboard Customization dialog box is also a good place to look if you suspect that shortcuts might have been changed (customized) by a user.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 56 Using scratch disks When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 57 associated with them. If scratch disk files are stored on removable media and the media is removed from the drive, the scratch disk won’t be available to Adobe Premiere Pro. • Although you can divide a single disk into partitions and set up partitions as scratch disks, this doesn’t improve performance because the single drive mechanism becomes a bottleneck.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 58 Default Sequence Control the number of video tracks and the number and type of audio tracks for new sequences you create. See “About audio channels and tracks” on page 173. Note: If you must change project settings that are unavailable, you can create a new project with the settings you want and import the current project into it.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 59 Fields Specifies the field dominance, or which field of each frame’s interlaced fields is drawn first. If you work with progressive-scan video, select No Fields (Progressive Scan). Note that many capture cards capture fields regardless of whether you shot progressive scan footage. Display Format (video) Specifies the way time appears throughout the project.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 60 Specifying Video Rendering settings Video rendering settings affect how Adobe Premiere Pro generates video when you select Sequence > Render Work Area. To specify video rendering settings: 1 Choose Project > Project Settings > Video Previews. 2 Select one of the following options: Compressor Specifies the codec for Adobe Premiere Pro to apply when previewing sequences.
Adobe Premiere Pro Help Using Help | Contents | Index Working with Projects Back 61 If you have a capture card that is certified for use with Adobe Premiere Pro and it includes presets for capturing from Adobe Premiere Pro, installing the card’s software also installs the presets for you. Manufacturer-supplied preset files are tested to work well with the manufacturer’s hardware, so you should not change the settings in them.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 63 Capturing and Importing Source Clips About importing clips You can import clips from any source—videotapes, motion-picture film, audio, still images—as long as they exist as digital files stored on disk. Media that isn’t on disk, such as videotape, must first be captured to disk.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 64 To use placeholders for missing files, see “Using offline files” on page 87. To evaluate a clip, examine the columns in the List view of the Project window and see “Analyzing clip properties and data rate” on page 89. Using the Capture window Use the Capture window to capture DV and analog video and audio clips.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 65 To hide the tabbed controls on the right side of the window: Choose Collapse Window from the Capture window menu. For details about troubleshooting capture, see “Avoiding DV capture problems” on page 96. Entering timecode values As you capture and edit video, you’ll enter timecode values many times.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 66 • Log clips by using options in the Logging tab in the Capture window. Adobe Premiere Pro uses the current data in the Setup and Clip Data sections as defaults for subsequent logged clips, so if you want to log a series of clips into the same bin with similar logging data, save work by specifying clip data before you start logging the series.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 67 Adobe Premiere Pro can capture video in the background so that you can perform other tasks during capture. However, be aware that dropped frames may result if you perform a system-intensive task while capturing. The chance of dropped frames is lower on a highperformance system. For detailed information, see “Batch-capturing clips” on page 75.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 68 3 Click Options, and do one of the following: • If a DV device is connected, select the device brand and device type. If your particular device is not listed, click Go Online for Device Info. • If an analog device is connected, the options may vary depending on the Adobe Premiere Pro plug-in software provided with the capture device. See the documentation for the capture device.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 69 8 Enter information into the Logging Data section as needed. Note: To avoid confusion, make sure that the Tape Name is unique. Some types of device control software may ask you to specify the Tape Name each time you insert a new tape. The other Logging Data options aren’t required. Using Capture window device controls You can use the controls in the Capture window to operate the device as you log clips.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 70 4 Click the Tape button near the bottom of the Logging tab in the Capture window. To mark a clip to be captured using device control: 1 Choose File > Capture to open the Capture window. 2 Make sure that your device is online, as indicated above the preview in the Capture window. If the message “Capture Device Offline” appears there, see “Setting up device control equipment” on page 68.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 71 2 Choose File > Capture. 3 In the Capture window menu, make sure that Record Video and Record Audio are selected or deselected as needed. 4 Use the controls on the deck or camcorder to move the videotape to a point several seconds before the frame where you want to begin capturing. 5 Press the Play button on the deck or camcorder, and then click Record in the Capture window.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 72 To save time by reducing the number of clips you log manually, consider using the Scene Detect feature. Scene Detect automatically captures a separate clip whenever a break is detected in the time stamp on the tape, such as when the camera’s pause button was pressed during shooting. See “Using automatic scene detection” on page 75.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 73 To log clips using device control: 1 Choose File > Capture, and make sure that your device is online as indicated above the preview in the Capture window. If it’s offline, see “Setting up device control equipment” on page 68. Capture window with Logging tab active 2 Click the Logging tab, and type the Tape Name used for the video tape.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 74 3 Click the Logging tab. Next to the Set In button in the Timecode section, enter timecode for the first frame of the clip, and click Set In. 4 Enter the last frame of the clip next to the Set Out button, and click Set Out. 5 Click Log Clip. For a description of the options in the Log Clip dialog box, see “Using offline files” on page 87. 6 Repeat steps 2 through 5 for each entry in your log.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 75 Using automatic scene detection Instead of manually logging In and Out points, you may want to use the Scene Detect feature. Scene Detect analyzes the video for scene breaks indicated by the tape’s timecode, such as those caused when you press the camera’s pause button while recording.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 76 Troubleshooting batch capture You can perform trouble-free batch captures 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. If you encounter problems with batch capture, make sure that all clips you want to batch capture are set up with the proper settings: • Each clip’s Status must be Offline.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 77 When you import a batch list, the order of fields in the list must be as follows: tape name, In point, Out point, clip name, and comment. When you export offline files as a batch list, Adobe Premiere Pro orders the fields as follows: tape name, In point, Out point, clip name, log note, description, scene, and shot/take.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 78 Importing digital audio Adobe Premiere Pro can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored as binary data readable by computers. Most digital audio is stored on computer hard disks, audio compact discs (CDs), or digital audio tape (DAT). If you have capture hardware that can read digital audio data directly, such as an IEEE 1394 (FireWire/i.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 79 Capturing analog audio If you want to use audio that is not yet in digital form, such as an analog cassette or a live voiceover, you need to capture it. With the proper audio- or video-capture card, Adobe Premiere Pro can capture audio that is synchronized with its source video or that is independent of it.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index 3 In the Audio Mixer window, click the Record Enable button you want to record audio. Back 80 for any tracks on which A B Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer 4 In the Audio Mixer window, 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.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 81 Importing clips You can import a single clip, multiple clips, or an entire folder of clips, either by using the File > Import command or simply dragging them into the Project window. Clips cannot exceed 4000 x 4000 pixels. If the software you use to create art does not let you specify pixels as a unit of measure, specifying points may be sufficient.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index • Back 82 To import a folder of clips, choose File > Import. Locate and select the folder you want to import, and then click Folder. The folder imports as a new bin in the Project window, with the folder’s contents listed inside the bin. You can also import files and folders by dragging them from a desktop window to the Project window in Adobe Premiere Pro.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 83 2 Choose File > Interpret Footage. 3 Select an option in the Pixel Aspect Ratio section, and click OK: • Use Pixel Aspect Ratio from File uses the original aspect ratio saved with the still image. • Conform To lets you choose from a list of standard aspect ratios. Importing Adobe Illustrator still images You can import an Adobe Illustrator still-image file directly into an Adobe Premiere Pro project.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 84 Converting layers into a sequence makes it easy to set up animations using layers in Adobe Photoshop. When Adobe Premiere Pro converts layers to a sequence, the sequence is imported into the Project window as a bin; each layer in the file becomes an individual clip in the bin. Each clip’s name consists of the layer name followed by the name of the file that contained it.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 85 When creating three-dimensional images or animations for use in Adobe Premiere Pro, use the following guidelines whenever possible: • Use broadcast-safe color filtering. • Use the pixel aspect ratio and frame size specified in the project settings in Adobe Premiere Pro. • Use the appropriate field settings to match your project.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 86 Project window, you can import storyboard files created in earlier versions of Adobe Premiere Pro by using the File > Import command. Changing the frame rate of a clip You can use the Interpret Footage command to change the frame rate that Adobe Premiere Pro assumes for a clip. Changing the frame rate changes the original duration proportionally.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 87 Creating 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. 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 Help Capturing and Importing Source Clips Using Help | Contents | Index • Back 88 A source file is unavailable when you open a project, so that Adobe Premiere Pro can’t locate it automatically and you can’t locate it manually. Adobe Premiere Pro provides Offline and Offline All buttons in this case (see “Opening a project” on page 41). To capture video using offline files, see “Batch-capturing video” on page 72.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index • Back 89 Media Files Are Deleted makes the selected files offline in the project and erases the source files from the disk. Note: If you select Media Files Remain On Disk and recapture a clip using the same filename as the file left on disk, the original media file is replaced.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 90 • You plan to capture clips using batch (automated) capture. • You want to recapture clips because the original files became corrupted or were deleted. • You plan to export sequences to another system by using AAF. • You’re using a system in which you edit quickly with low-resolution captures, and later re-capture the clips at full resolution and quality for the final version.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 91 To stripe a tape with timecode: 1 Put a completely unused tape in the camera. 2 If you’re using a camera, attach the lens cap and disable audio input. 3 Begin recording. Let the camera or deck run until the entire tape is recorded. Replacing DV timecode If the timecode on your tape isn’t continuous, you can create a copy, or dub, of the tape.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 92 Manually setting timecode for a clip On some analog copies of video footage, the timecode appears not on the video track, but as a window dub or window burn superimposed on each video frame. This window dub lets you see the timecode on a deck that can’t read true timecode (see “Using timecode for efficient capture” on page 89). Window dub timecode is also called burned-in, or visual, timecode.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 93 Connecting a DV source To capture DV video, your computer must be able to connect to a DV device using IEEE 1394 (FireWire/i.Link). For detailed instructions on connecting your device, see your device documentation. Adobe Premiere Pro’s built-in DV support relies on DV support in the operating system.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 94 Connecting an analog video source To capture analog video, first connect the camcorder or deck to the capture card installed in your system. Depending on your equipment, you may have more than one format available for transferring video and audio, including component video, composite video, and S-video. Refer to the instructions included with your camcorder and capture card.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 95 • A project that was created using a DV preset in the New Project dialog box where all settings match the footage you’re about to capture. For best results, make sure that the preset or project you choose matches the standard format (NTSC or PAL) and the audio rate (32 kHz or 48 kHz) used when you shot your video footage. • Sufficient disk space for the captured footage.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 96 3 Click OK to close the Project Settings dialog box. Note: If you’re using the Capture window and a “No Device Control” or “Capture Device Offline” message appears at the top of the Capture window, set up Device Control. See “Using device control” on page 67.
Adobe Premiere Pro Help Using Help | Contents | Index Capturing and Importing Source Clips Back 97 Preparing for analog capture When you use an analog capture card, some capture settings you see within Adobe Premiere Pro are actually provided to Adobe Premiere Pro by the plug-in software that came with the capture card. Due to the differences among brands of capture cards, specific options and supported formats can vary.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 98 Understanding offline and online editing Most DV editing is performed online (using full-resolution source files). When working with analog source material or high-definition digital material, you can use Adobe Premiere Pro for either online or offline editing depending on the level of quality you require and the capabilities of your equipment.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 99 When imported clips are created using a different pixel or frame aspect ratio than your project, distortions can result. Adobe Premiere Pro automatically attempts to detect and compensate for the pixel aspect ratio of source clips. If a clip appears distorted in Adobe Premiere Pro, you can use Adobe Premiere Pro to manually indicate its pixel aspect ratio.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 100 If you display rectangular pixels on a square-pixel monitor without alteration, images appear distorted; for example, circles distort into ovals. However, when displayed on a broadcast monitor, the images appear correctly proportioned because broadcast monitors use rectangular pixels.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 101 Setting pixel aspect ratio The preset you choose when you start a project sets the pixel aspect ratio for the project. You can’t change the aspect ratio after it is initially set, but you can choose Project > Project Settings > General to inspect the project’s aspect ratio.
Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 102 Using square-pixel footage for output to DV You can use square-pixel footage in a DV project and generate output that does not appear distorted. Adobe Premiere Pro either upsamples (increases) the resolution or downsamples (decreases) the resolution of a file that does not match the project frame size.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 103 Assembling a Sequence Using the Monitor window The Monitor window resembles a conventional edit bay’s video monitors and edit controller. The left side of the Monitor window, or Source view, displays source clips; the right side, or Program view, displays the active sequence. Controls under each view allow you to control playback and cue the current frame of a source clip or sequence.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 104 To open a clip in Source view: Do any of the following: • Double-click the clip in the Project or Timeline window, or drag a clip from the Project window to the Source view. The clip appears in the Source view and its name is added to the Source menu. • Drag multiple clips or an entire bin from the Project window into the Source view, or select multiple clips in the Project window and double-click them.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 105 This section covers using both views’ controls for cueing and playing back footage. Controls for setting In and Out points and for adding or removing frames from a sequence are covered in “Using Monitor controls to perform three-point or four-point edits” on page 132 and “Removing parts of a sequence” on page 146. Most playback controls have keyboard equivalents.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 106 • To play faster, press J or L repeatedly. For most media types, the clip’s speed increases from one to two to three to four times. Pressing J plays reverse; pressing L plays forward. • To play slower, press Shift+J or Shift+L repeatedly. For most media types, the clip plays in slow motion, from .1 to .2 times. Pressing J plays reverse; pressing L plays forward.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 107 The full duration of a clip or sequence is represented graphically by its respective time ruler. Tick marks and numeric labels measure time using the counting method specified in the Project Settings (although you can toggle the program time ruler to display audio samples; see “Customizing a sequence’s time ruler” on page 114).
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 108 Customizing the Monitor window By default, the Monitor window is set to Dual View, so that it includes a Source view on the left, and a Program view on the right. For certain editing tasks, you may want to optimize the workspace by setting the Monitor window to Single View. For example, when performing tasks that don’t involve source clips, such as audio mixing, you might display the Program view only.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 109 Choosing a Quality setting By default, the Monitor window displays video at the highest quality. That is, it displays all the pixels of each frame. However, you can reduce the resolution of the Source or Program view to decrease the processing demands on your computer.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 110 To choose a Display Mode setting: 1 In the Source or Program view, click the Output button right of the view. , or click the triangle at the top 2 In the pop-up menu, choose a Display Mode setting: Composite Displays the normal video. Alpha Displays transparency as a grayscale image. All Scopes Displays a waveform monitor, vectorscope, YCbCr Parade, and RGB Parade.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 111 A waveform monitor is useful in measuring the brightness, or luminance component, of a video signal. The waveform monitor works something like a graph. The horizontal axis of the monitor corresponds to the video image. Vertically, the waveform measures luminance, in units called IRE (named for the Institute of Radio Engineers).
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 112 You can cue the frame of a sequence displayed in the reference monitor independently from the Program view. This way, you can cue each view to a different frame for comparison—to use the color matching filter, for example. Alternatively, you can gang the reference monitor and Program view together, so that they both show the same frame of a sequence, and move in tandem.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 113 Using the Timeline window Whereas the Program view of the Monitor window displays a sequence as it will appear on a video monitor, the Timeline window represents a sequence graphically, showing placement of clips in a horizontal timeline of video and audio tracks.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 114 To toggle the time ruler display between frames and audio samples: In the sequence pop-up menu, choose Audio Units to make the time ruler display audio samples. Choose Audio Units again to return the ruler to counting video frames. Customizing track views You can view the clip contents of each track in the Timeline window in different ways, depending on your preference or the task at hand.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 115 Resizing Tracks You can resize the width of the track header area to accommodate long track names and resize the height of expanded tracks to better view icons or control keyframes. Additionally, you can adjust the relative proportion of visible video and audio tracks to favor the tracks you need to see.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 116 Locking and unlocking tracks Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In the Timeline window, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index • Back 117 To specify the type of audio track you want to add, choose an option from the Track Type pop-up menu for audio and audio submix tracks. (For more about audio channel types, see “About audio channels and tracks” on page 173.) 3 Click OK. An audio track can accept only audio clips that use the matching channel type— mono, stereo, or 5.1.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 118 At the bottom left of the Timeline window, zoom controls also let you change the scale of the time ruler and view the sequence in more or less detail. A E F B C D G Time navigation controls in the Timeline window A. Current-time indicator B. Viewing area bar C. Work area bar D. Time ruler E. Zoom out F. Zoom slider G.
Adobe Premiere Pro Help Using Help | Contents | Index • Assembling a Sequence Back 119 In the Timeline window, drag the ends of the viewing area bar farther apart. Dragging the ends of the viewing area bar closer together to zoom into the time ruler Setting In and Out points There are several ways to build a sequence, but all of them involve selecting the portions of source clips you want to include, and when you want them to appear.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index • Back 120 To set In and Out points in the sequence, click the Program view. 2 Do one of the following: • To mark an In point, go to the frame you want, and then click the Set In button . • To mark an Out point, go to the frame you want, and then click the Set Out button . To set sequence In and Out points around a selection: 1 In the Timeline window, select a clip or gap in the sequence.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 121 Setting In and Out points for split edits Ordinarily, you set one In point and one Out point for a source clip. Even if it’s a linked clip—a clip containing video and audio tracks—In and Out points apply to both tracks of the clip. Sometimes you want to set the video and audio In or Out points independently, however, in order to create split edits (also known as L-cuts and J-cuts).
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 122 To use audio samples in the Timeline window: 1 In the Timeline window’s pop-up menu, choose Audio Units. The time rulers in the Timeline window and Program view switch from a frame-based to a sample-based scale. 2 If necessary, expand the audio track containing the clip you want to edit, click the Set Display Style button, and choose Show Waveform.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 123 Working with markers is much the same as working with In and Out points; however, markers are only for reference and do not alter the video (except for markers set up as Web links). In addition to setting markers, you can use commands to remove markers and to cue the current time to the next, previous, or numbered marker. A B Marker icons in the Timeline window A. Clip marker B.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 124 To add a numbered or unnumbered marker: 1 Do one of the following: • To set a clip marker, open a clip in source view. • To set a sequence marker, select the Program view or Timeline window. 2 Depending on the type of marker you want to set, choose Marker > Set Clip Marker or Marker > Set Sequence Marker, and choose an option in the submenu: • Unnumbered sets a blank marker.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 125 Dragging beyond either edge of a time ruler scrolls the time ruler. As usual, scrolling the Program window’s time ruler doesn’t affect the view of the sequence in the Timeline window, or vice versa. Dragging a marker in the Source or Program view’s time ruler moves the corresponding marker icon in the Timeline window.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 126 • To change the duration of the marker, drag the duration value or click the value to highlight it, type a new value, and press Enter. • To create a chapter link, enter the chapter name and number in the Chapter field. • To create a Web link, enter a URL and Frame Target. 3 To enter comments or specify options for other sequence markers, click Prev or Next.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 127 About insert and overlay edits Whether you drag clips or use Monitor window controls, you can choose to perform an insert edit or overlay edit. In an insert edit, adding a clip to the sequence forces any clips later in time to shift forward to accommodate the new clip. An insert edit can be compared to splicing a shot into a film sequence.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 128 You can specify the source tracks you want to use in the Source view of the Monitor window. The Take Video/Take Audio button toggles between three states: the Take Video button , the Take Audio button , and the Take Video and Audio button . For clips that contain only video or audio, only the corresponding option is available.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 129 Dragging clips into a sequence The most direct and intuitive way to assemble clips into a sequence is by dragging them from the Project window or Source view to the appropriate track in the Timeline window. The video and audio components of linked clips appear in corresponding tracks in the sequence (Video 1 and Audio 1, for example), unless the audio channel type of the clip is incompatible with the target track.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index appears with the Insert icon to which the clip is added. Back 130 . Arrows appear at the insertion point only in the tracks Dragging performs an overlay edit, as indicated by the Overlay icon. Ctrl-dragging performs an insert edit, as indicated by the Insert icon and insertion arrows in all tracks. Ctrl+Alt-dragging inserts the clip and shifts only the target tracks, indicated by the arrows.
Adobe Premiere Pro Help Using Help | Contents | Index Assembling a Sequence Back 131 Note: To make clip edges (their In and Out points) align when you drag them, make sure that the Toggle Snap button is active. For more about the snap feature, see “Moving clips in a sequence” on page 147.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 132 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 Help Using Help | Contents | Index Assembling a Sequence Back 133 • 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. • Ignore Sequence Out Point disregards the sequence Out point you set, and performs a three-point edit.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 134 Perform Audio Cross Fade When checked, creates an audio cross-fade at each audio edit, using the default audio transition (defined in the Effects window). Perform Audio Cross Fade is available only when audio tracks are present in selected clips, and the Placement option is set to Sequentially. It has no effect when the Clip Overlap option is set to 0.
Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 135 2 In the New Sequence dialog box, specify the following options: • For Sequence Name, enter a descriptive name for the sequence. • For Video, type the number of video tracks you want the sequence to contain, or click the up and down arrows to change the number. • For 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 Help Using Help | Contents | Index Assembling a Sequence Back 136 • Streamline your editing space. Create complex, multilayered sequences separately; then add them to your main sequence as a single clip. This not only saves you from maintaining numerous tracks in the main sequence, but also potentially reduces the chances of inadvertently moving clips during editing (and possibly losing sync). • Create complex groupings and nested effects.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 138 Editing a Sequence Overview Typically, the first iteration of a sequence is a relatively crude draft version, or rough cut. In the next stage of editing, you can focus on fine-tuning the clips in the sequence. You will continue to use the controls in the Source and Program view not only to add to the sequence, but to remove portions as well.
Adobe Premiere Pro Help Using Help | Contents | Index • Editing a Sequence Back 139 To add or subtract a range of clips in the current selection, Shift-drag a marquee around clips. Shift-dragging a marquee that includes unselected clips adds them to the current selection. Shift-dragging a marquee that includes selected clips deselects them.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 140 Enabling and disabling clips If you want to suppress a clip while you try out a different editing idea, or to shorten processing time when working on a complex project, disable the clip. Disabled clips do not appear in the Program view or in a preview or video file that you export. As long as you have not locked the track containing a disabled clip, you can still make changes to it.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 141 you are making the clip longer, the source clip must contain enough additional frames beyond its source In or Out point to accommodate the adjustment. Note: If you want to trim a clip edge that’s already adjacent to another clip, use the methods described in “Trimming clips in the Timeline window” on page 148 and “Using the Trim window” on page 156.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 142 Splitting a clip You can split a clip in the sequence by using the razor tool . Splitting a clip creates a new and separate instance of the original clip. It can be useful when you want to use different effects that can’t both be applied to a single clip, such as different speed settings. When you split a clip, Adobe Premiere Pro creates a new instance of the clip and any clips to which it is linked.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 143 If you have applied settings to a clip and want to use the same settings in one or more other clips, you can easily copy the settings. For example, you might want to apply identical color correction to a series of clips captured in the same session. Settings intrinsic to the source clip—motion, opacity, volume—replace those in the destination clips.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 144 To link video and audio: 1 Shift-click a video and audio clip to select them both. 2 Choose Clip > Link Audio and Video. To unlink video and audio: Select a linked clip and choose Clip > Unlink Audio and Video. (Though the audio and video are unlinked, they are both still selected. Reselect either clip to use it separately.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 145 Processing interlaced video fields In most video, each frame consists of two fields. One field contains the odd-numbered lines in the frame, and the other contains the even-numbered lines. The fields are interlaced, or combined, to create the complete image. Ordinarily, interlace isn’t apparent to a viewer.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 146 4 Select Frame Blend Speed Changes to improve the appearance of video when the clip’s speed is not 100% by blending frames together. 5 Click OK. Removing parts of a sequence You can delete gaps between tracks in the Timeline window, and you can use controls in the Program view of the Monitor window to remove a specified range.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 147 • To delete both the audio and video of linked clips, click the first clip in the track. • To delete only one track’s clips and not the linked counterparts, Alt-click the track’s clips. 3 Press Delete. Note: You can also delete a track along with everything it contains; see “Adding, renaming, and deleting tracks” on page 117.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 148 2 Drag the edge of a clip close to the edge of another clip or a marker or the current-time indicator. A vertical line appears when alignment occurs. You can toggle the snap feature using a keyboard shortcut (S) even during an editing operation, such as moving or trimming a clip.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 149 Performing insert and overlay edits in the Timeline window When dragging clips in time, you often move them to an unoccupied track, or align them to an adjacent clip (see “Moving clips in a sequence” on page 147). However, you can also drag one clip over another clip in the Timeline window, to perform the equivalent of an insert or overlay edit (see “Adding clips to a sequence” on page 127).
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 150 Note: To trim only one track of a linked clip, press Alt as you click with a Trim icon. You do not need to hold down the Alt key once you initiate the trim. To change a clip’s In and Out points in the Timeline window: Click the selection tool and do one of the following: • To edit the In point, drag the left edge of the clip once the Trim-in icon appears.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 151 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. To make a split edit (also known as an L-cut or J-cut), press Alt when you begin to perform a rolling edit.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 152 2 Drag left or right from the edge of the clip you want to change. The same number of frames added to the clip are trimmed from the adjacent clip. (Alt-drag to affect only the video or audio portion of a linked clip.) Timeline window during (above) and after (below) a rolling edit To perform a ripple edit: 1 In the toolbox, select the ripple edit tool .
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 153 Trimming using slip and slide edits Just as ripple and rolling edits allow you to adjust a cut between two clips, the slip and slide edit tools are useful when you want to adjust two cuts in a sequence of three clips. You do this by dragging the center clip with the appropriate tool left or right.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 154 A slide edit shifts a clip in time while trimming adjacent clips to compensate for the move. As you drag a clip left or right with the slide tool, the Out point of the preceding clip and the In point of the following clip are trimmed by the number of frames you move the clip. The clip’s In and Out points (and hence, its duration) remain unchanged.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 155 Using the Trim window Whereas you can accomplish most editing tasks in the Monitor and Timeline windows, fine-tuning the cut point between clips is most effective in the Trim window. The Trim window is similar to the Monitor window but is actually a separate window with specialized controls.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 156 • Click the timecode display between the views, type a valid timecode number to trim the edges of both clips to that frame, and press Enter. • Select the boxed number above the center jog disk, type a negative number to trim both clips left or type a positive number to trim both clips right, and press Enter. • Click the button that corresponds with the number of frames you want to rolling-edit.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 157 Previewing at the project’s full frame rate When you set the Program view’s Quality setting to Automatic (see “Choosing a Quality setting” on page 109), 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.
Adobe Premiere Pro Help Using Help | Contents | Index • Editing a Sequence Back 158 Drag the work area markers (at either end of the work area bar) to specify the beginning and end of the work area. Dragging the work area markers to mark the beginning (above) and end (below) of the work area • 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.
Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 159 To preview on a monitor via a DV camera or deck: 1 Choose Project > Project Settings > General, and click the Playback Settings button. 2 For Video Playback, check Play Video on DV Hardware if you want to preview video through the DV device to a television monitor. Video still appears in the Program view, but may look staggered. Leave the option unchecked to view video in the Monitor window only.
Adobe Premiere Pro Help Using Help | Contents | Index Editing a Sequence Back 160 2 For the Video Previews and Audio Previews menus, choose locations for video and audio preview files, respectively. The disk you choose must be large and fast enough to support video playback, so choose a hard disk attached to your computer, not a network drive. Also, because Adobe Premiere Pro must be able to locate the preview files when you open a project, avoid specifying removable media.
Adobe Premiere Pro Help Using Help | Contents | Index Adding Transitions Back 162 Adding Transitions About transitions By default, placing two clips next to each other in the Timeline results in a cut, where the last frame of one clip is followed by the first frame of the next. When you want to emphasize or add a special effect to a scene change, you can add a variety of transitions, such as wipes, zooms, and dissolves.
Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 163 4 From the Effects window menu, choose Set Default Transition. To set the duration of the default transition: 1 Do one of the following: • Choose Edit > Preferences > General. • In the Effects window, choose Default Transition Duration from the Effects window menu. 2 Change the value for the Video Transition Default Duration or Audio Transition Default Duration; then click OK.
Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 164 4 To preview the transition, play back the timeline or drag the current-time indicator through the transition. Adjusting transition alignment At any time, you can adjust how a transition aligns to the edit point. You can align transitions in the Timeline window by dragging; you can align transitions in the Effect Controls window by dragging or specifying an option.
Adobe Premiere Pro Help Using Help | Contents | Index Adding Transitions Back 165 Changing transition duration You can edit a transition’s duration in the Timeline window by dragging either end of the transition; you can edit the duration in the Effect Controls window by dragging or by changing the Duration value.
Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 166 Changing transition settings You can use the Effect Controls window to change settings for a transition in the timeline, including the center point, the start and end values, the border, and anti-aliasing quality setting. A G B H I C D J E F Effects Controls window A. Preview button B. Transition preview C. Edge selector D. Previews E. Start/end frames sliders F. Options G. Clip A (first clip) H. Transition I.
Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 167 2 In the Effect Controls window, adjust settings. (See “Transition settings” on page 167.) To reposition the center of a transition: 1 In the Timeline window, select a transition that has a center. 2 In the A preview area in the Effect Controls window, drag the small circle to reposition the transition center.
Adobe Premiere Pro Help Using Help | Contents | Index Adding Transitions Back 168 Using the Image Mask transition You can use a black-and-white bitmap image as a transition mask in which image A replaces the black in the mask, and image B replaces the white in the mask. If you use a grayscale image for the mask, pixels containing 50% or more gray convert to black, and pixels containing less than 50% gray convert to white.
Adobe Premiere Pro Help Using Help | Contents | Index Adding Transitions Back 169 5 Click OK. To preview the transition, drag the current-time indicator through the transition in the timeline. Result of the Gradient Wipe transition on a clip To edit a Gradient Wipe transition: 1 Double-click the transition in the timeline. 2 In the Effect Controls window, click the Custom button, specify options, and click OK.
Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 170 About clip handles and transitions Adobe Premiere Pro creates a transition by using the handles at the beginning or end of a clip, if available. Handles are the captured frames outside a clip’s In and Out points. 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.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 171 Mixing Audio Audio mixing basics While 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 Help Using Help | Contents | Index Mixing Audio Back 172 • If you are preparing a complex mix with many tracks, consider organizing them into submixes and nested sequences. See “Working with submixes” on page 187 and “Working with multiple sequences and nested sequences” on page 135. • To understand the order in which audio settings are applied, see “Understanding how Adobe Premiere Pro applies audio settings” on page 173.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 173 Understanding how Adobe Premiere Pro applies audio settings When you import video or audio, Adobe Premiere Pro first conforms its audio to the audio settings specified in the New Project dialog box when the project was created; see “Conforming audio” on page 192.
Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 174 By default, the Audio Mixer window displays all audio tracks and the master fader, and the VU meters monitor output signal levels. The Audio Mixer window represents the tracks in the active sequence only, not all project-wide tracks. If you want to create a master project mix from multiple sequences, set up a master sequence and nest other sequences within it.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 175 • To display time in audio units instead of video frames, choose Audio Units. You can specify whether to view audio units or milliseconds by changing the Display Format option in the Project > Project Settings > General dialog box. The Audio Units option affects the time displays in the Audio Mixer window, Program window, and Timeline window.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 176 To mute a track: Click the track’s Speaker icon in the Audio Mixer window. Note: Muting doesn’t affect pre-fader items such as effects and sends. Also, the state of the Mute button is subject to the automation settings in effect (see “Automating audio changes in the Audio Mixer window” on page 190). If you want to completely silence track output, click the track’s Speaker icon in the Timeline window.
Adobe Premiere Pro Help Using Help | Contents | Index • Mixing Audio Back 177 To add an audio transition other than the default, expand the Audio Transitions bin in the Effects window and drag the audio transition to the Timeline window on the edit point between the two clips you want to cross-fade. To fade in a clip’s audio: 1 If necessary, click the triangle to the left of each track name to expand the audio tracks that you want to cross-fade.
Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 178 Cross-fading existing clips in the Timeline window usually requires extending the duration of one or more audio clips. Whenever you extend the duration of a clip, additional frames must be available in the clip’s source (master) clip beyond the current In or Out point.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 179 While the master audio track is the default output track, a sequence can also include submix tracks (see “Working with submixes” on page 187). Submix tracks can be both an output destination of other audio tracks and an audio source to the master track (or other submix tracks).
Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 180 You can vary the pan setting over time in the Audio Mixer window (see “Automating audio changes in the Audio Mixer window” on page 190), or in the Timeline window by applying keyframes to a track’s Panner property (see “Working with keyframes in the Timeline window” on page 222). A B C D E F G H I Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C. Left channel D.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 181 3 Click the pop-up menu at the top left corner of the track; then choose Panner > Balance or Panner > Pan. (For 5.1 surround audio, choose the dimension you want to edit from the Panner menu.) 4 Use the pen tool to adjust the level uniformly (if keyframes have not been added) or to add or edit keyframes. See “Working with keyframes in the Timeline window” on page 222.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 182 • To view the audio waveform of a clip in the Timeline window, click the triangle to the left of the audio track name, and click the Set Display Style icon under the Toggle Track Output icon . Then choose Show Waveform. • To view an audio clip in the Source view of the Monitor window when the clip is in the Timeline window, double-click the clip.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 183 Output Channel Mappings Specifies 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. Mono sequences use the Stereo column because the mono signal is output to both the left and right speakers.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 184 Applying effects to audio tracks You can apply up to five effects to an audio track by using the Audio Mixer window. Track effect options are controlled in the Audio Mixer window in the effects list, in the panel that contains effects and sends. If the panel is not visible, it can be expanded using the triangle by the top left corner of the automation menus.
Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 185 To edit track effect settings in the Audio Mixer window: 1 Make sure that the effect you want to edit is selected in the Effects list. 2 If needed, choose the effect property you want to edit from the pop-up menu at the bottom of the effects/sends panel. 3 Change the value of the property using the effect control knob above the property menu.
Adobe Premiere Pro Help Using Help | Contents | Index • Mixing Audio Back 186 For audio clips, the only fixed effects are Volume Bypass and Volume Level. Working with VST effects All Adobe Premiere Pro audio effects are written to the Steinberg VST (Virtual Studio Technology) plug-in standard, and you can add third-party VST plug-ins. VST effects may have additional controls and instances of effects per track; all are accessible in the Audio Mixer window.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 187 Working with submixes A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence. A submix is an intermediate step between audio tracks and the master track. Submixes are useful when you want to work with a number of audio tracks in the same way.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 188 To route a track’s output to a submix: In the Audio Mixer window, select the submix name from the track output menu at the bottom of the track. Using sends Each track contains five sends, located in the sends list in the Audio Mixer window. Sends are often used to route a track’s signal to a submix track for effects processing.
Adobe Premiere Pro Help Using Help | Contents | Index • Mixing Audio Back 189 To create a new submix and send to it, choose Create Mono Submix, Create Stereo Submix, or Create 5.1 Submix from any of the five track send assignment pop-up menus in the sends list in the Audio Mixer window. A B C D Sends A. Name of submix assigned to send, and Send Assignment pop-up menu B. Send mute C. Control knob for selected send property D.
Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 190 To designate a send as pre-fader or post-fader: Right-click a send in the Audio Mixer window, and choose Pre-Fader or Post-Fader. To mute a send: Click the Mute button next to the send control knob for the selected send property. To delete a send: Choose None from the Send Assignment pop-up menu.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 191 Read Reads the track’s automation settings and uses them to control the track during playback. If a track has no settings, adjusting a track option (such as volume) affects the entire track uniformly. If you adjust a property for a track set to Read automation, then when you stop adjusting it, the value returns to where it was before the current automated changes were recorded.
Adobe Premiere Pro Help Using Help | Contents | Index Mixing Audio Back 192 To protect a track property from being altered by the Write automation mode: Right-click the track property’s menu or control, and choose Safe During Write from the menu that appears. Note: Use the Audio Mixer window to automate track properties only, not clip properties. You can edit clip keyframes by selecting the clip and using the Effect Controls window or timeline track.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 193 Using the Adobe Title Designer Understanding the Adobe Title Designer In Adobe Premiere Pro, you have the ability to design complex titles with the Adobe Title Designer. You can add a variety of attributes to titles, use various templates to design titles, freely manipulate shapes in a title, and create custom styles that you can save and use with other title documents.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 194 2 Choose File > Save As. 3 Specify a location and filename, and then click Save. To open a previously saved title: 1 Choose File > Import. 2 Select a title and click Open. Note: Adobe Title Designer opens titles that have a .PRTL extension as well as titles created in Adobe Premiere 6.0 or earlier that have a .PTL extension; the latter are automatically resaved with a .PRTL extension.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 195 3 Select a file, and click Open. You can import only title files (.PRTL) as templates. To set a default template: 1 Choose Title > Templates and select a template. 2 Choose Set Template as Default from the Templates menu. The default template loads each time you open the Adobe Title Designer. To restore the default template: 1 Choose Title > Templates and select a template.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 196 To display the frame located at the current-time indicator: In the Adobe Title Designer, click the Sync To Timeline button . Previewing titles on an external monitor If you’re creating titles for broadcast, it’s important to preview them on a television monitor to make sure that the colors and text appear as expected.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 197 Creating new titles with text and graphics Use the Adobe Title Designer to create text and graphic titles with a variety of attributes. You can use any vector font resident on your system, including Type 1 (PostScript), OpenType, and TrueType fonts. Use the drawing tools to create any shape—simple or complex. The Adobe Title Designer recognizes each text or graphic element you create as an object.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 198 4 Continue clicking until you create the path shape you want. 5 Type the text. If necessary, adjust the path by dragging the anchor points. Resizing the text box in this mode resizes only the visible area; the text remains the same size. 6 When you are finished, select the selection tool and click outside of the text box area.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index • Back 199 To rotate the text box and the characters, either select the rotation tool and drag a corner point, or place the cursor just outside one of the corner points, and when the cursor becomes the Rotate icon , drag the corner point. Changing font attributes The Adobe Title Designer includes a font browser, which displays all of the installed fonts.
Adobe Premiere Pro Help Using Help | Contents | Index • Using the Adobe Title Designer Back 200 Drag across, up, or down to flip the shape horizontally or vertically as you draw. Note: To flip the shape after you’ve drawn it, use the selection tool to drag a corner point in the direction you want it to flip. To change the shape of a graphic object or a logo: In the Properties section of the Object Style list, choose a shape option from the Graphic Type pop-up menu.
Adobe Premiere Pro Help Using Help | Contents | Index Using the Adobe Title Designer Back 201 Drawing curved segments with the pen tool Draw curved segments by dragging the anchor points with the pen tool. Before you draw and modify curved segments with the pen tool, it’s important to understand two elements that are associated with anchor points on curves.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index • Back 202 To create a “C”-shaped curve, drag in a direction opposite to the direction that you dragged to create the previous anchor point. A B C Drawing the second point in a curve A. Starting to drag second smooth point B. Dragging away from previous direction line, creating a “C” curve C.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 203 To add an anchor point to a path: 1 Select the path. 2 Select the add anchor point tool . 3 Do one of the following: • To add an anchor point without creating or manually adjusting a curve, click where you want to add an anchor point. • To add an anchor point and simultaneously move the new point, drag the spot on the path where you want to add an anchor point.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 204 Using bitmap logos The Adobe Title Designer offers several methods for placing bitmap logos created in other graphics applications (including vector-based drawing applications) into a title. Once you place a logo in a title, you can apply object styles to it. You can also use a logo as a texture. For more information, see “Using object styles” on page 207 and “Loading textures” on page 210.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 205 Aligning and distributing objects Use the Align and Distribute commands to line up or evenly space selected objects in the Adobe Title Designer. You can align or distribute objects along the vertical or horizontal axes. When you choose horizontal alignment, the selected objects align along the edge of the object’s horizontal axis closest to the edge you choose.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 206 • In the Transform section, adjust the X Position value to reposition the object or objects along the specified x axis, or adjust the Y Position value to reposition the object or objects along the specified y axis. • Choose Title > Transform > Position and type new X and Y Position values; then click OK.
Adobe Premiere Pro Help Using Help | Contents | Index Using the Adobe Title Designer Back 207 Using object styles With the Adobe Title Designer, you can apply a custom style to each object or group of objects you create. Styles can consist of any variation of any properties you add to your objects. These properties include strokes, fills, sheens, textures, shadows, as well as font types. Using styles helps you maintain consistency across multiple titles in a project.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 208 Kerning Specifies the amount of space you add or subtract between specific character pairs. The value indicates the percentage of character width between the character pairs. Place the cursor at the point where you want to adjust kerning. 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.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 209 Cap Type Specifies the type of cap placed at the end of the paths. The Butt option caps paths with square ends. The Round option caps paths with semicircular ends. The Square option caps paths with square ends that extend half the line width beyond the end of the line. This option makes the weight of the line extend equally in all directions around the line.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 210 Bevel Adds a beveled edge to the background. Set options as desired. The Balance option specifies the percentage of the bevel that the shadow color occupies. Eliminate Specifies that no fill or shadow is rendered. Ghost Specifies that the shadow is rendered, but not the fill. Eliminate and Ghost work best with objects that have shadows and strokes.
Adobe Premiere Pro Help Using Help | Contents | Index Using the Adobe Title Designer Back 211 Alignment Object X, Alignment Object Y Specifies to which part of the object the texture aligns. The Arbitrary option specifies that the texture aligns to the title and not the object. When you select this option, you can move the object around and the texture will not move. The Clipped Face option specifies that the texture aligns to the clipped area face (face minus the inner strokes).
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 212 4 Expand the Inner Stroke or Outer Stroke values of the stroke you just created. Set any of the following options: Select or deselect each stroke you create to compare how various combinations of options look on your selected object. Type Specifies the type of stroke you apply. Depth creates a stroke that makes the object appear to extrude.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 213 Opacity Specifies the shadow’s level of transparency. Angle Specifies the angle of the shadow in relation to the object. Distance Specifies the number of pixels that the shadow is offset from the object. Size Specifies the size of the shadow. Spread Specifies how far the alpha channel boundaries of the object are extended prior to blurring.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 214 To create a style and display its swatch or name: 1 Select an object. 2 Do one of the following: • From the Styles menu, choose New Style. • Click the New Style button in the Styles section. 3 Type a name for the style and click OK. Depending upon the display option you select, either a swatch displaying the new style or the new style name appears in the Styles section.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index • Choose Delete Style from the Styles menu. • Click the Delete Style button . Back 215 Note: This procedure deletes only the style swatch or name from the display area. The style remains on your system in its library. Use the Load Style Library, Reset Style Library, or Replace Style Library command to display the style library again.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 216 To create rolling or crawling titles: 1 Choose Roll or Crawl from the Title Type menu. Note: For best results, choose this option before you create your objects so that you can scroll the drawing area as you draw them, thereby creating objects that extend beyond the initial drawing area. 2 Create the object. For best results when creating a text object, use the type tool.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 217 Using tabs Similar to a standard word processor, the Adobe Title Designer uses tabs to assist in text alignment and justification. When you create credits, especially rolling credits, tabs can help display the credits in professionally aligned and justified columns. You can set multiple tabs for any text object in the Adobe Title Designer.
Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 218 Adding a title to a project When you’ve completed and saved a title, Adobe Premiere Pro automatically adds it to the open Project window. The title becomes a clip in the project, using the original title file as its source. If you want to superimpose a title over a clip, add the title to the track directly above the clip.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 219 Superimposing and Compositing Understanding transparency Compositing is the process of creating a composite image by superimposing multiple images. Because video frames are completely opaque by default, compositing requires that parts of a video frame be transparent. When part of a clip is transparent, transparency information is stored in the clip’s alpha channel.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 220 Keying Defining transparency by a particular color (color key) or brightness value (luminance key) in an image. Pixels matching the key color become transparent. Use keying to remove a background with a uniform color, such as a blue screen.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 221 Invert Alpha Channel Reverses the light and dark areas of the alpha channel, which reverses the transparent and opaque areas. If you have difficulty identifying which parts of a clip are transparent, choose Alpha from the Program view menu in the Monitor window.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 222 3 Position the pen tool over the white opacity graph line for the clip, and drag up or down. If no keyframes exist on the graph, the graph appears as a straight horizontal line across the entire track. (If keyframes have been added to the clip, they must be deleted for opacity to be adjusted uniformly; see “Working with keyframes in the Timeline window” on page 222.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 223 The segments connecting keyframes form a graph that indicates changes in keyframe values along the duration of the clip or track. Adjusting keyframes and segments changes the shape of the graph. A B C D E F G H I J K Track keyframe controls in the Timeline window A. Disclosure triangle B. Show Keyframes (video) C. Show Keyframes (audio) D. Previous Keyframe button E. Add Keyframe button F.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 224 To add a keyframe using the pen tool: 1 Position the pen tool over the gray keyframe graph line in the track where you want to add a keyframe. If no keyframes exist, the graph is a straight horizontal line across the track. 2 Ctrl-click the keyframe graph. When you position the pen tool over a keyframe graph and press Ctrl, a plus sign (+) appears next to the pointer.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index • Back 225 With the pen tool, drag a marquee around the keyframes to select contiguous keyframes. Shift-drag to add more keyframes to an existing selection. Specifying keyframe values in the Timeline window You can use the selection and pen tools to edit keyframes in the Timeline window. You increase or decrease values by dragging keyframes vertically.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 226 You can paste keyframes only to a clip or track that displays the same property as the copied keyframes. Also, Adobe Premiere Pro can paste keyframes at the current-time indicator on only one clip or track at a time.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 227 Using keys You can apply keys that define transparent areas based on values such as color or brightness that exist within a clip. Use color-based keys for knocking out a background, brightness keys for adding texture or special effects, alpha channel keys to modify a clip’s alpha channel, and matte keys for adding traveling mattes or applying other clips as mattes. (See “Using matte keys” on page 230.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 228 Blend Blends the clip you are keying out with the underlying clip. Higher values blend more of the clip. Threshold Controls the amount of shadows in the range of color you keyed out. Higher values retain more shadows. Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not drag beyond the Threshold slider; doing so inverts gray and transparent pixels.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 229 Smoothing Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 230 Using the Multiply and Screen keys The Multiply and Screen keys use an underlying image as a map to determine what part of the keyed image to make transparent. The Multiply key creates transparency in the areas of the image that correspond to the bright areas in the underlying image. Conversely, the Screen key creates transparency in the areas that correspond to the dark areas of the underlying image.
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 231 In this way, you can replace a static background behind a moving object (such as a person walking past a stage set). Very often the specified image is simply a frame of background footage (before the moving object enters the scene). For this reason, the Difference Matte key is best used for scenes that have been shot with a stationary camera.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 232 A matte containing motion is called a traveling matte or moving matte. The matte may consist of motion footage, such as a blue-screen silhouette, or you can animate a still image matte by applying the Motion effect in Adobe Premiere Pro (see “Animating effects by using keyframes” on page 245 and “Animating effects in the Timeline window” on page 224).
Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 233 Reverse Inverts the values of the track matte. To retain the original colors in the superimposed clip, use a grayscale image for the matte. Any color in the matte removes the same level of color from the superimposed clip. Creating a garbage matte Sometimes the subject of a scene is properly keyed except for undesired objects. Use a garbage matte to mask out those objects.
Adobe Premiere Pro Help Using Help | Contents | Index Superimposing and Compositing Back 234 4 Type a name for the matte, as you want it to appear in the Project window. Then click OK. Brightly colored mattes can serve as temporary backgrounds to help you see transparency more clearly while you adjust a key effect.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 235 Applying Effects Introduction 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 Help Using Help | Contents | Index Applying Effects Back 236 For a list of each audio and video effect and its options, see “Audio effects included with Adobe Premiere Pro” on page 281 and “Video effects included with Adobe Premiere Pro” on page 258. About track-based effects All video effects—both Fixed and Standard effects—are clip-based. That is, they alter individual clips.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 237 The Effect Controls window includes a timeline, current-time indicator, zoom controls, and a navigator area similar to those found in the Program view and Timeline window. When a clip is selected in the Timeline window, the Effect Controls window automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 238 To expand or collapse an effect or property: Click the triangle to the left of an effect or property name to expand or collapse it. Expanding a heading (such as Motion) reveals properties associated with that effect; expanding an individual property reveals a graphical control, such as a slider or dial. To reorder the effects: Click an effect name, and drag it to a new location on the list.
Adobe Premiere Pro Help Using Help | Contents | Index • Applying Effects Back 239 Expand the property by clicking the triangle next to the property name (if available), and then drag the slider or angle control (depending on the property). To set a color value: Do one of the following: • Click the color swatch, select a color in the Color dialog box, and then click OK. • Click the eyedropper, position it on the desired color anywhere on the screen, and click to select the color.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 240 Adjusting position, scale, rotation, and anchor point By default, a clip appears at 100% of its original size in the center of the Program view. Position, scale, and rotation values are calculated from the anchor point, which lies at the clip’s center. Adobe Premiere Pro continuously rasterizes scaled EPS files to prevent pixelization.
Adobe Premiere Pro Help Using Help | Contents | Index • Applying Effects Back 241 To scale proportionally, Shift-drag any handle. Note: Scaling video and low-resolution images over 100% can make them look blocky or pixelated. To adjust a clip’s rotation: 1 In the Effect Controls window, select the Motion effect. 2 In the Program view, position the pointer slightly outside any of the six handles bounding the clip, so that the pointer changes into the Rotate icon .
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 242 Working with the Effects window Standard effects are listed in the Effects window and are organized into two main bins, Video Effects and Audio Effects. Within each bin, effects are grouped by type in nested bins. For example, the Blur bin contains effects that defocus an image, such as Gaussian Blur and Directional Blur. Audio effects are also grouped by the type of audio clips they support: mono, stereo, or 5.1.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 243 Working with Standard effects You can apply any number or combination of Standard effects to any clip in a sequence. Though some effects (such as, Black & White) produce a single outcome, most effects have one or more adjustable variables. When you apply these effects, a dialog box may appear prompting you to specify these variables, such as the amount of blur.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 244 To remove multiple effects applied to a clip: 1 In the Effect controls window, select the clip from which you want to remove all effects. 2 Do one of the following: • Shift-click one or more of the effects, and then press Delete or Backspace. • Choose Delete All Effects From Clip from the Effect Controls menu.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 245 About keyframing To change an effect over time, you can use a standard technique known as keyframing. When you create a keyframe, you specify the value of an effect property for a specific point in time. When you apply different values to keyframes, Adobe Premiere Pro automatically calculates the values between the keyframes, a process called interpolation.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 246 To activate keyframes for a property: 1 In the Timeline window, select the clip that contains the effect you want to animate. 2 In the Effect Controls window, expand the effect to reveal the property you want to animate by clicking the triangle next to it. 3 Click the Toggle Animation button next to the property name. A keyframe appears at the current time.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 247 time. You cannot restore deleted keyframes by reactivating the Toggle Animation button. If you accidentally delete keyframes, choose Edit > Undo. Navigating and selecting keyframes After you activate keyframes for a property, the keyframe navigator appears, which allows you to move the current-time indicator from one keyframe to the next to adjust property values.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 248 To select a keyframe: Click the Keyframe icon. To select multiple keyframes: Shift-click to select multiple contiguous or noncontiguous keyframes. To select all keyframes for a property: In the Effect Controls window, click the layer property name. For example, click Position to select all the Position keyframes for a layer. Moving keyframes You can move any keyframe to a different point in time.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index • Back 249 Select another clip, expand the appropriate property in the Effect Controls window, 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. Deleting keyframes If you no longer need a keyframe, you can easily delete it from an effect property.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 250 2 Using the Zoom In control, magnify the clip so that the effect pop-up menu appears. 3 Click the effect pop-up menu, and choose the effect property that contains keyframes. 4 Use the keyframe navigator arrows to navigate to a keyframe and make any of the following adjustments: • Drag keyframes up or down to change the value, or drag them right or left to change the timing.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 251 When you change the interpolation method for a keyframe, you may not notice a significant difference if the rate of change is low between that keyframe and neighboring keyframes. For more dramatic results, decrease distance between keyframes and increase the value differences.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 252 When you animate a clip’s position, the clip’s motion is represented by a motion path in the Program view. Small white Xs represent keyframed positions, dotted lines represent positions at interpolated frames, and the circular anchor point symbol represents the center of the clip at the current frame.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 253 8 Repeat steps 5 and 6 as needed. When you animate a clip, it can be useful to reduce the Program view’s magnification level. This way, you can see more of the pasteboard area outside the visible area of the screen and can use it to position the clip off screen. Modifying the motion path To change any keyframed property, you have to set the current-time indicator precisely at the specific keyframe that you want to change.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 254 Using the Color Corrector effect Use the Color Corrector effect to adjust black levels, white levels, and color values for broadcast. If you need to make only minor adjustments to the chrominance and luminance values, you can use the Color Corrector’s Limiter control to set the minimum and maximum values.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index • Back 255 Enter values to set the upper limit for luminance in Luma Max, the upper limit for chrominance in Chroma Max, and the lower limit for chrominance in Chroma Min. 13 Select the appropriate setting for Video System. 14 If you enabled the Video Limiter option in step 12, select a limiting method for out-oflimit colors in Method. 15 Deselect Split Screen Preview before exporting your sequence.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 256 Stereo Balance, Bandpass, Bass, Channel Volume, DeNoiser, Delay, Dynamics, EQ, Fill Left, Fill Right, Highpass, Invert, Lowpass, MultibandCompressor, Multitap Delay, Notch, Parametric EQ, PitchShifter, Reverb, Swap Channels, Treble, Volume Mono Bandpass, Bass, DeNoiser, Delay, Dynamics, EQ, Highpass, Invert, Lowpass, MultibandCompressor, Multitap Delay, Notch, Parametric EQ, PitchShifter, Reverb, Treble, Volume For details
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 257 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.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 258 Basic 3D 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. The light source for the specular highlight is always above, behind, and to the left of the viewer.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 259 Width Specifies the wave width. Bevel Alpha The Bevel Alpha effect adds a beveled edge and lights to the alpha boundaries of an image, often giving two-dimensional elements a three-dimensional appearance. (If the clip has no alpha channel or its alpha channel is completely opaque, the effect is applied to the edges of the clip.) The edge created in this effect is somewhat softer than that of the Bevel Edges effect.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 260 To achieve the same IRE level as an image with reduced luminance, reducing saturation requires greater amplitude modification, which alters the image more. Key Out Unsafe and Key Out Safe make it easier for you to determine which portions of the image will be affected by the Broadcast Colors effect at the current settings.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 261 Focal length Changes the focal length of the camera lens. Shorter lengths provide wider views, whereas longer focal lengths provide narrower but closer views. Distance Sets the distance between the camera and the center of the clip. Zoom Enlarges or reduces the view of the clip. Fill color Specifies the background color.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 262 Chroma Key The Chroma Key effect keys out all image pixels that are similar to a specified key color. When you key out a color value in a layer, that color or range of colors becomes transparent for the entire layer. Control the range of transparent colors by adjusting the tolerance level. You can also feather the edges of the transparent area to create a smooth transition between the transparent and opaque areas.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 263 Tonal Range Definition Changes the highlights, midtones, or shadows while leaving the other areas uncorrected. Select Preview to view the result. HSL Hue Offsets Adjusts hue, saturation, and brightness of shadows, midtones, and highlights with graphical color wheels. Use the following controls to adjust color using the HSL color model: Hue Adjusts hue without changing saturation or lightness.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 264 Method Provides options for adjusting out-of-limit colors. Reduce Saturation tends to wash out colors that are limited. Reduce Luma preserves colors but can make them muddy if overly corrected. Smart Limit limits colors while best preserving their appearance. Color Emboss The Color Emboss effect sharpens the edges of objects in the image but doesn’t suppress any of the image’s original colors.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 265 3 To reverse the effect, so that all colors except the specified color are preserved, select the Reverse option. Color Replace The Color Replace effect replaces all occurrences of a selected color with a new color, preserving any gray levels. Using this effect, you could change the color of an object in an image by selecting it and then adjusting the controls to create a different color.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 266 Corner Pin The Corner Pin effect distorts an image by changing the position of each of its four corners. Use it to stretch, shrink, skew, or twist an image, or to simulate perspective or movement that pivots from the edge of a layer, such as a door opening. A C B Corner Pin A. Original image B. Corner moved C.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 267 Direction Specifies the direction of the blur. The blur is applied equally around a pixel’s center; therefore, a setting of 180˚ and a setting of 0˚ look the same. Blur Length Specifies how much to blur the image. Drop Shadow The Drop Shadow effect adds a shadow that appears behind the clip. The shape of the Drop Shadow is determined by the clip’s alpha channel.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 268 Echo Operator Specifies the operations to be performed between echoes. Add combines the echoes by adding their pixel values. If the starting intensity is too high, this mode can quickly overload and produce streaks of white. Set the Starting Intensity to 1.0 per number of echoes and the Decay to 1.0 to blend the echoes equally. Maximum combines the echoes by taking the maximum pixel value from all the echoes.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 269 Facet The Facet effect clumps pixels of similar color values in cells for a painterly effect. Keyframes cannot be applied to this effect. Fast Blur Use the Fast Blur effect to specify how much to blur an image. You can specify that the blur is horizontal, vertical, or both. Fast Blur blurs areas more quickly than Gaussian Blur.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 270 Green Screen Key The Green Screen Key effect keys out all image pixels that are similar to a standard greenscreen, so that they become transparent. Horizontal Flip The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 271 Flare Center Specifies a location for the center of the flare. Lense Type Selects the type of lens to simulate. Levels The Levels effect manipulates the brightness and contrast of a clip. It combines the functions of the Color Balance, Gamma Correction, Brightness & Contrast, and Invert effects. The Levels Settings dialog box displays a histogram of the current frame.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 272 Branch Angle Specifies the size of the angle between a branch and the main lightning bolt. Branch Seg. Length Specifies the length of each branch segment as a fraction of the average length of the segments in the lightning bolt. Branch Segments Specifies the maximum number of segments for each branch. To produce long branches, specify higher values for both the branch segment length and the branch segments.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 273 Luma Key The Luma Key effect removes all the regions of a clip that have a specified luminance or brightness. The clip’s quality setting does not influence the Luma Key effect. When the object from which you want to create a matte has a markedly different luminance value than its background, you can make the background value transparent by keying it out.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 274 Noise Type Randomly changes the red, green, and blue values of the image’s pixels individually when Use Color Noise is selected. Otherwise, the same value is added to all channels. Clipping Determines whether the noise causes pixel colors to wrap around. When the color value of a pixel gets as large as it can be, clipping makes it stay at that value.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 275 Use Level to adjust the number of tonal levels for each channel to which Posterize will map existing colors. Posterize Time The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses. For example, 60-field video footage can be locked to 24 fps (and then field-rendered at 60 fields per second) to give a film-like look.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 276 Use Background Color to specify the new background color when you want to change the color of a matte. Replicate The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider. RGB Difference Key The RGB Difference Key effect creates transparency by removing pixels from a specified color or range of colors.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 277 Spherize The Spherize effect wraps a clip around a spherical shape and is useful for giving objects and text a three-dimensional effect. You can set the intensity (amount) from –100 (a concave appearance) to 100 (a convex appearance). You can also select the direction in which the effect is applied: Horizontal Only, Vertical Only, or Normal (in all directions).
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 278 Tint The Tint effect alters an image’s color information. For each pixel, the luminance value specifies a blend between two colors. Map Black To and Map White To specify to which colors dark and bright pixels are mapped. Intermediate pixels are assigned intermediate values. Amount To Tint specifies the intensity of the effect.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 279 Wavelength Specifies the distance from one wave crest to the next, using values from 1 to 999. Amplitude Specifies the height of the wave, using values from 1 to 999. Randomize Randomly selects a value between the minimum and maximum wavelength and amplitude values; otherwise, the waves are of a uniform amplitude and frequency. Scale Controls the magnitude of the distortion, both horizontally and vertically.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 280 Bass The Bass effect allows you to increase or decrease lower frequencies (200 Hz and below). Boost specifies the number of decibels by which to increase the lower frequencies. Channel Volume The Channel Volume effect allows you to independently control the volume of each channel in a stereo or 5.1 clip or track. Each channel’s level is measured in decibels.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 281 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.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 282 Frequency Specifies the amount by which to increase or decrease the band (between 20 and 2000 Hz). 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).
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 283 Attack 1-3 Specifies the time (between 0.1 and 100 milliseconds) the compressor takes to respond to a signal that exceeds the threshold. Release 1-3 Specifies the time required for the gain to return to the original level when the signal falls below the threshold. MakeUp 1-3 Adjusts the compressor’s output level (between –6 and +12 dB) to compensate for a loss in gain caused by compression.
Adobe Premiere Pro Help Using Help | Contents | Index Applying Effects Back 284 Reverb The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room. PreDelay Specifies the time between the signal and the reverberation. This setting correlates to the distance a sound travels to the reflecting walls and back to the listener in a live setting. Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 285 The following effects have been discontinued or renamed in Adobe Premiere Pro: Backwards (audio and video), Better Gaussian Blur, Blur, Blur More, Hue and Saturation, Image Pan, Mosaic, Polar, Sharpen More, Strobe, and Video Noise. Gallery of effects The samples below illustrate just some of the video effects included with Adobe Premiere Pro.
Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back Noise Pinch Pointillize Posterize Radial Blur Replicate Sharpen Sharpen Edges Original image Shear Solarize Spherize Texturize Tiles Tint Twirl Vertical Flip Wave Wind ZigZag Using Help | Contents | Index Back 286 286
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 289 Producing Final Video Introduction When you have finished assembling and editing clips in sequences, you can generate the final video. The options you choose when producing the final video depend on how it will be used. You can use Adobe Premiere Pro to produce videos in ways such as the following: • Export a sequence to DVD. • Record a sequence directly to videotape as it plays from your computer.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 290 5 Select the DVD Burner panel, and select settings. 6 If needed, select the Summary panel, and verify your settings. 7 Make sure that a compatible blank DVD is inserted in the drive, and click Record to begin writing a DVD. If no DVD writer is available, Record is unavailable.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 291 Number of Copies Enter the number of times you want to write the DVD program during this session. As each disc is completed, Adobe Premiere Pro will ask you to insert another disc until all of the discs you specified have been written. Burner Status Ready indicates that Adobe Premiere Pro can write a DVD to the disc in the selected burner.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 292 Using Adobe Media Encoder transcode presets Use the Transcode Settings dialog box to manage transcoding presets. This dialog box appears when you choose File > Export > Adobe Media Encoder. The default settings are designed to achieve optimal quality for various project types. You can save, import, export, and delete presets.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 293 Codec Specifies the compressor/decompressor from those available on your system. Quality Specifies the encoding quality. Higher values increase render time. TV Standard Conforms the output to the NTSC or PAL standard. Aspect Ratio Specifies the output aspect ratio of either 4:3 or 16:9. Frame Rate Displays the output frame rate for either NTSC or PAL formats. Program Sequence Specifies the output scan mode.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index • Back 294 PCM (pulse-code modulation) Audio is a lossless audio format sampled at 48 kHz. Files of this format tend to be large, occupying more disc space than the other encoder formats. Audio Format Displays the audio type of the selected codec. Bit Rate Specifies the output bitrate of the audio. This option is available only for Dolby Digital and MainConcept MPEG Audio codecs.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 295 To change the displayed Alternates or Audiences: 1 Click the arrow next to the Alternates or Audiences name to expand it. 2 Click Add/Remove Alternates or Add/Remove Audiences. 3 In the Select Target dialog box, do any of the following and then click OK: • Select the item you want to specify. • To create a new item, select an existing item with the correct media bitrate, click Duplicate, and rename the item.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 296 Exporting video as a file The sequence you edit in the Timeline window is not available as an independent video file until you export it. After export, you can play it in other video playback or editing programs and move it to other disks or platforms. Before you export a sequence, make sure that it is ready to output at the quality you require.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 297 Exporting to videotape You can record your edited sequence onto videotape directly from your computer. For best results, use device control to precisely output to a connected DV camcorder or an analog deck that can be controlled by third party software written for Adobe Premiere Pro. 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.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 298 seconds of color bars and tone at the beginning of your program to aid in video and audio calibration. See “Creating color bars and a 1-kHz tone” on page 87.
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 299 3 Make sure that your video recording device is on and that the tape is cued to the point where you want to start recording. 4 Position the current-time indicator at the beginning of the sequence (or work area, as needed). 5 Press the Record button on your device. 6 Press the Play button in the Program view of the Monitor window.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 300 Exporting to AAF You can export a project as an Advanced Authoring Format (AAF) file. AAF is a widely supported industry standard for high-end exchange of data, such as the information necessary to transfer a video project from one program to another. An AAF file helps you preserve as much of the project’s integrity as possible when you transfer it to another system.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 301 3 Choose a format for File Type. Click Compile Settings for the file type you chose (if available), specify options, and click OK. For the Compile Settings available for Compuserve GIF, see “Animated GIF” on page 309. 4 Click Video, and specify options. 5 Click OK to close the Export Still Frame Settings dialog box. 6 Specify a location and filename, and then click OK.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 302 A filmstrip is a single file that contains all the frames of the clip. If your computer doesn’t have enough memory to enable Photoshop to load the filmstrip file, consider exporting the clip as numbered still images instead so you can edit each frame as a separate file (see “Exporting clips as still images” on page 301).
Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 303 Video formats Microsoft AVI and DV AVI, Animated GIF, MPEG, RealMedia, QuickTime, and Windows Media. The last four are available through the File > Export > Adobe Media Encoder command. DVD is supported through the File > Export > Export To DVD command, and DV is supported through File > Export > Export to Tape. Audio-only formats Microsoft AVI and DV AVI, MPEG, RealMedia, QuickTime, and Windows Audio Waveform.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 304 Range Select the range of time to export. Select Work Area to export the frame range indicated by the work area markers (see “Moving around in the Timeline window” on page 118). If you are exporting from the Source view or a Clip window, and In and Out points are marked, you can select In to Out to export the marked range only.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 305 Frame Size Specify the dimensions, in pixels, for video frames you export. Select 4:3 Aspect to constrain the frame size to the 4:3 aspect ratio used by conventional television. Some codecs support specific frame sizes. Increasing the frame size displays more detail but uses more disk space and requires more processing during playback. Frame Rate Choose the number of frames per second for video you export.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 306 Sample Type Choose a higher bit depth and stereo for better quality, or choose a lower bit depth and mono to reduce processing time and disk-space requirements. CD quality is 16-bit stereo. Stereo provides two channels of audio; Mono provides one channel. Channels Specify how many audio channels (see “About audio channels and tracks” on page 173) are in the exported file.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 307 About creating a video file for CD-ROM playback When you create a video file to be played from a CD, you may need to specify export settings that take into account the wide range of hardware that your audience might be using, possibly including older single- or double-speed CD-ROM drives. If your audience does use older CD-ROM drives, it becomes important to tune your exported video file for a low data rate.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 308 picture quality until the editing process is complete. For maximum quality, choose the None compressor (no compression) if you have sufficient disk space to store the very large file that will result. • Do you want to paint on frames? If so, you can export to Filmstrip format and edit in Adobe Photoshop (see “Exporting a filmstrip file for editing in Adobe Photoshop” on page 301).
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 309 Animated GIF Animated GIF is best suited for solid-color motion graphics at a small frame size, such as an animated company logo. It works better for synthetic graphics than for live-action video. It is convenient because it is viewable in most Web browsers without requiring a plug-in, but you cannot include audio in an animated GIF file.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 310 DVD production The data rate should maximize quality while fitting the entire program within the space available on the DVD. In Adobe Premiere Pro, by default the DVD data rate is automatically adjusted by the Adobe Media Encoder, which is used by the Export > Export to DVD command.
Adobe Premiere Pro Help Using Help | Contents | Index Producing Final Video Back 311 Choosing compression settings is a balancing act that varies depending on the type of video material, the target delivery format, and the intended audience. Often, the optimal compression setting is arrived at through trial and error.
Adobe Premiere Pro Help Keyboard Shortcuts Using Help | Contents | Index Back 312 Keyboard Shortcuts Keys for selecting tools in the toolbox Result Shortcut Selection tool V Track select tool M Ripple edit tool B Rolling edit tool N Rate stretch tool X Razor tool C Slide tool U Slip tool Y Pen tool P Hand tool H Zoom tool Z Keys for working in the Monitor window Result Shortcut Slip audio or video independently Alt-drag the audio or video portion of the clip with the selectio
Adobe Premiere Pro Help Keyboard Shortcuts Using Help | Contents | Index Back 313 Key for navigating in the Timeline window Result Shortcut Set work area bar to sequence Double-click the work area bar Keys for capturing in the Capture window Result Shortcut Navigate through editable fields Tab Cancel capture Esc Eject E Using Help | Contents | Index Back 313
Adobe Premiere Pro Help Using Help | Contents | Index Legal Notices Back 314 Legal Notices Copyright © 2003 Adobe Systems Incorporated. All rights reserved. Adobe® Premiere® Pro 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.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 315 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Index A AAF command 300 acceleration adjusting in an animation 251 Action Safe Area option 60 action-safe zones 196 Add Audio Transition command 176 Add Tracks command 117 Adjust effects category 257 Adobe After Effects alpha channel from 221 exporting to 299 Adobe Audition 78 Adobe Certification program 9 Adobe Encore DVD 127, 289 Adobe GoLive 127 Adobe Illustrator (AI) file format
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 316 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Antialias effect 258 anti-aliasing 83 Apply Audio Transition command 162 Apply Video Transition command 162, 163 arc tool 200 archiving projects 43 ASIO Settings option 183 aspect ratio 98 See also pixel aspect ratio and frame aspect ratio D4/D16 101 DVD 292 frame 99 pixel 59, 99 square pixels 101 Audiences encoding settings 295 audio analog, capturing 79 audio lead edit 177 Audio Mi
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 317 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Automate to Sequence command 134 automation, audio 190 autosaving 43 B background mattes 233 Balance (audio) effect 281 balancing audio 178, 225 Bandpass effect 281 Basic 3D effect 259 Bass effect 281 batch capture settings 74 batch capturing about 72 logging clips 72 recapturing 77 troubleshooting 76 batch lists importing and exporting 76 recapturing using 77 setting up 66 Bend eff
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 318 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z CD.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 319 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z color correcting using a reference monitor 112 using the Color Corrector effect 254 Color Corrector effect 255, 263 Color Emboss effect 265 Color Match effect 256, 265 color matching filter, adjusting with a reference monitor 112 Color Offset effect 265 color palettes 304 Color Pass effect 265 Color Replace effect 266 color safe See vectorscope colors adjusting 262, 263, 279 balance
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 320 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Delete Render Files command 161 Delete Workspace command 46 deleting anchor points 203 clips 47 keyframes 224, 227 source files 42 space between clips 146 workspaces 46 DeNoiser effect 282 depth.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 321 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z E Easy Curve In/Out interpolation 251 Echo effect 269 edges, highlighting 258, 270 edit decision lists (EDLs) 98 Edit Original command 145 editing about 107 audio lead edit 177 cancelling in Trim window 157 clips in original application 145 clips in the Timeline window 138 deleting space between clips 146 extracting 147 insert edit 128, 132, 149 J-cut edit 177 L-cut edit 177 lift 14
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 322 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z optimizing still images 306 other software and 307 settings 303, 304, 305, 309 using Adobe Media Encoder 296 video 296 Video CD 307 video settings 304 extensions.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 323 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z garbage mattes 233 Gaussian Blur effect 271 Gaussian Sharpen effect 271 General settings 40 Ghosting effect 271 GIF file format See also Animated GIF file format importing 82 GIF sequence 303 Go To In Point button 121 Go To Next Marker button 125 Go To Out Point button 121 Go To Previous Marker button 125 Gradient Wipe transition 168 gradients, creating 277 graphics, setting styles f
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 324 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Internet, creating video for 308 Interpret Footage command 86, 221 intranet, data rate for 310 Invert (video) effect 271 Invert effect 284 IRE (Institute of Radio Engineers) 111 applying 227, 230 Blue Screen 229 Chroma 228 Difference Matte 231 Green Screen 229 Image Matte 230 Luminance 229 matte keys 230 Multiply 230 Non Red 229 RGB Difference 228 Screen 230 Track Matte 231 J J-cut
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 325 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Lock icon 117 logging clips 66, 70, 72 looping in Trim window 157 Lowpass effect 284 Luma Key effect 274 luminance 111 Luminance key type 229 M Macintosh Picture file format.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 326 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z N New Project command 40 New Reference Monitor command 113 new titles 193 Noise effect 275 Non Red Key effect 275 Non Red key type 229 Notch (audio) effect 285 NTSC timebase for 59 video levels 111 NTSC safe 111 Numbered Stills option 85 O object style properties, adjusting for text 207 objects about 197 adding strokes for 211 aligning 205 changing opacity of 205 changing position
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 327 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z pen tool 200, 201, 224, 225 Perspective effects category 257 Photoshop.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 328 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z opening 41 starting 40 Properties window 89 properties, clips 89 PSD.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 329 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z audio 79 audio capture 79 audio preview or playback 60 DVD 292 saturation, measuring 112 Save a Copy command 43 Save As command 43 Save command 43 Save Workspace command 46 Scale property 240 scaling animating 224 EPS files 81 objects 205 path text 199 text box 199 Scene Detect 75 scopes 110 scratch disks about 57 preferences 79 Scratch Disks/Device Control command 298 Screen Key eff
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 330 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z clearing 104 using to view clips 104 source tracks, specifying 129 Source view 45, 103 Source/Program view See Dual View speed about 140 changing using a duration 141 changing using a percentage 141 changing with the rate stretch tool 141 maintaining audio pitch 141 reversed 141 reversing 141 using keyframes to adjust in a clip 252 Speed command 141 Spherize effect 278 split edits 12
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 331 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z previewing titles on 196 temp files 57 templates 194 text creating styles for 207 setting tabs in 217 text boxes 198 text tools 197 textures, using Adobe Photoshop files as 209 Texturize effect 279 TGA.
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 332 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z display style 115 editing audio 172 excluding 116 expanding and collapsing 115 locking and unlocking 117 removing clips 147 renaming 118 resizing 116 routing output 183 showing and hiding audio waveforms 115 specifying source and target 128 transcoding 291, 292 Transform effect 280 Transform effects category 257 transforming objects 205 transitions about 162 adding between clips 163
Adobe Premiere Pro Help Index Using Help | Contents | Index Back 333 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Video CD 307 Video for Windows 59 video levels, measuring 111 Video Playback options 160 Video project settings 61 Video Rendering settings 40 Video Transitions folder 162 video-capture cards 97 videotape data rate for 310 device control 298 recording to 297, 299 viewing area bar in the Monitor window 108 in the Timeline window 118, 119 viewing mode in a reference monitor 112 Virtual