ADOBE® PREMIERE® PRO Help and tutorials January 2014
Contents What’s New................................................................................................................................................... 1 What’s New in Premiere Pro CC December 2013 (version 7.2)................................................................................ .............2 What’s new in Premiere Pro CC October 2013 (version 7.1)................................................................................................ .
Monitor overlays................................................................................................................................................................. 201 Managing metadata............................................................................................................................................................ 205 Working with markers....................................................................................................................................
Add images to titles............................................................................................................................................................ 431 Effects and transitions.............................................................................................................................. 432 Motion: position, scale, and rotatea clip..............................................................................................................................
What's New 1
What's New in Premiere Pro CC December 2013 (version 7.2) For information on what's new in the earlier Creative Cloud releases of Premiere Pro, see: What's New in Premiere Pro CC October 2013 (7.1) What's New in Premiere Pro CC July 2013 (7.0.1) What's New in Premiere Pro CC June 2013 (7.0) This document describes the new and changed features in the Premiere Pro CC December 2013 release (version 7.
You can quickly create a sequence by dragging media and dropping it to the empty Timeline window. Premiere pro creates a new sequence from the media file that you dragged to the Timeline. Export markers as a list Premiere Pro lets you export markers from a single media asset or sequence to a CSV or HTML file. The Export Markers feature works with the asset whose markers are loaded in the Markers panel. 1. Load the markers of the required clip or sequence into the Markers panel.
Improved media management Open multiple Media Browser panels To easily access multiple projects and media locations, Premiere Pro lets you open multiple Media Browser panels simultaneously. Select New Media Browser Panel from the Media Browser's context menu. Bypass automatic relinking of offline media Premiere Pro automatically finds and links offline media where possible. However, there are times, when you want to quickly open a project without automatically relinking the offline media.
previously saved sequence preset for camera 1, all cameras, or switch audio. To the top Audio enhancements New voice-over recording workflow Premiere Pro now lets you set up and record voiceovers on audio tracks directly from the Timeline, without using the Audio Track Mixer workflow. Display the Voice-over Record button lets you record a voice-over directly from the Timeline on to an audio track.
When using a predefined In/Out range, you don't have to click the Voice-over Record button reaches the In point in the Timeline. . Recording automatically starts when the playhead Finish Recording When using a predefined In/Out range, recording ends when the playhead reaches the Out point in the Timeline. The status message on the Program Monitor then changes to "Finishing...".
What's new in Premiere Pro CC October 2013 (version 7.1) This document describes the new and changed features in the Premiere Pro CC October 2013 release (version 7.
Premiere Pro now lets you render multiple sequences at once instead of doing it one at a time. In the Project panel, select the sequences that you want to render, and select Sequence > Render Effects In Work Area. For more information about how to render a sequence, see Rendering and previewing sequences. Ripple Sequence Markers In earlier versions of Premiere Pro, sequence markers were fixed on your timeline.
End Of Media Indicator When the playhead goes past the last frame of media on the Timeline and there is no clip after that, a black frame appears along the right edge of the last frame of a clip or sequence. The End Of Media Indicator is always turned on, and appears for media clips in the Program Monitor, Source Monitor, and the video area of the Project panel. A.
J, K, L playback keyboard shortcuts now provide faster speeds of 1x, 2x, 4x, 8x, 16x, and up to 32x. Note: Playback performance may vary depending on hardware, video frame resolutions, and video codecs. Set negative speed values for reverse playback To play clips backward, you can now enter negative speed values in the Clip Speed/Duration dialog. 1. In a Timeline panel or Project panel, select one or more clips. 2. Right-click (Windows) or Control-click (Mac OS) the clip, and select Speed/Duration. 3.
Timecode effect enhancements The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip. Copy and paste transitions to multiple edit points You can add a transition quickly to several edit points within your sequence by copying and pasting the transition. This feature is helpful if you’ve changed a transition’s default settings and want to use the modified transition again. 1.
Edit point indicators Media Limit indicators Marker comments Other metadata, like clip name, multi-camera angle, and sequence timecode You can turn overlays on or off by selecting Overlays from the pop-up menu in the Program Monitor or Source Monitor. The Overlay Settings dialog lets you specify the display of overlays, which you can customize and apply as overlay presets. For more information on using overlays, see Monitor Overlays.
To the top Multi-Camera workflow improvements Display camera angles as track names or clip names When creating a multi-camera source sequence, you can display the camera names as clip names or track names. These options are available in addition to the default option of enumerated camera names like camera 1, camera 2, and so on. The options are available in the Create Multi-Camera Source Sequence dialog box under Camera Names.
The Program monitor's Multi-Camera Viewing Mode now displays a fully composited output like the regular playback mode. The Multi-Camera mode can display any applied effects during playback. Quick multi-camera editing based on sync timecode Premiere Pro lets you perform quick multi-camera edits based on sync timecode. Press the modifier key Ctrl (Win) or Cmd (Mac) while switching source clips to match frame to the timecode at the current playhead position.
Support for 64-bit QuickTime export Premiere Pro supports the following new video and audio codecs that let you export QuickTime movies in a 64-bit process. Video codecs Apple ProRes codecs (Mac OS 10.
Improved performance for MJPEG files Premiere Pro shows improved performance while playing MJPEG (Motion JPEG) movie files from the Canon EOS 1DC camera. Support for QuickTime Reference legacy file format Premiere Pro can now import QuickTime reference movies in MPEG 422 file format. Enhanced BlackMagic Cinema Camera support You can import CinemaDNG footage from BlackMagic Cinema Cameras directly into Premiere Pro.
What's new in Premiere Pro CC July 2013 (version 7.0.1) This document describes the new and changed features in the Premiere Pro CC July 2013 release (version 7.0.
The Copy/Paste feature continues to use the workflow where duplicate instances are created and linked back to the original master title clip. Besides the methods already mentioned, there are other methods to create a duplicate title. For example, you can use the Match Frame feature in the track item to load the master clip title in the Source monitor. You can then edit the title back into the sequence, or find the original master clip title manually and edit that into the sequence.
1. Right-click (Win) or Ctrl-click (Mac) an offline sequence and select Link Media from the context menu. All the clips used in that sequence appear in the Locate Media dialog. 2. Relink the offline sequences just as you would relink any selection of offline clips. Alternatively, in the Timeline panel, right-click (Win) or Ctrl-click (Mac OS) a sequence tab, and select Link Media from the context menu.
to this feature. When Linked Selection is turned on, clicking a linked clip in the Timeline automatically selects all the associated tracks. For example, if you click the video part of a linked A/V clip, the audio is automatically selected. When Linked Selection is turned off, only the single track item that you click is selected, and not all the associated tracks. You can temporarily override a toggle state by pressing Alt (Win) or Opt (Mac) while selecting the track.
New Tone Settings dialog Premiere Pro provides a new Tone Settings dialog that lets you create Bars and Tones clips at -20dB amplitude. Using the Tone Settings dialog 1. Double-click a Bars and Tones clip to open the Tone Settings dialog. 2. In the Tone Settings dialog, specify the audio settings. Select Steady Tones to create a Bars and Tones clip at any desired frequency. Select Identify Channels to create a Bars and Tones clip that adheres to EBU audio standards.
to the project file. This change conserves the maximum number of auto-saves per project, and saves only the useful archived versions. To the top Improved time-lapse support when adding clips to a sequence When you add clips created from still images to a sequence, you can specify the duration of clips (in frames). To do so, in the Automate To Sequence dialog, under Still Clip Duration, select Frames Per Still and enter the number of frames.
box. The preference is deselected by default. To the top New and changed keyboard shortcuts Navigate edit points in Source monitor You can use Up and Down arrow keys to navigate to Begin/End and In/Out points in clips loaded into the Source monitor. This navigation feature works on both individual clips or sequences loaded in the Source monitor. For clips, the navigation steps through Clip Start, In point, Out point, and Clip End.
What's New in Premiere Pro CC June 2013 (version 7.0) Adobe® Premiere® Pro CC 7.0 offers several new features and enhancements that enrich your digital video editing experience. Read on for a quick introduction to the new features and links to resources offering more information. IMPORTANT: Apart from the features listed in this article, the Premiere Pro CC June release includes several useful features that help you be more productive when using Premiere Pro.
Adobe Anywhere lets video teams effectively collaborate and access shared media across standard networks. You can you use local or remote networks to simultaneously access, stream, and work with remotely stored media. Heavy file transfers, duplicate media, and proxy files are not required. To use Adobe Anywhere in Premiere Pro, select File > Adobe Anywhere > Sign In. Enter the required information in the Adobe Anywhere Sign In dialog box.
Redesigned Timeline The track headers in the Timeline panel are now customizable, allowing you to determine which controls are displayed. Since the controls are different for the video and audio tracks, there are separate Button Editors for each track type. Right-click a video or audio track and select Customize. Then drag-and-drop buttons as required. For example, you can select the Track Meter control and drag it into your audio track.
Show duplicate frame markers Premiere Pro assigns a color automatically to each master clip that has a duplicate clip. Up to ten different colors are assigned. After ten colors are used, the tenth color is reused. For example, say, you've used multiple cameras to shoot a sporting event. You may use different shots of the crowd all through the show. If you use the same crowd shot more than once, then duplicate frame detection alerts you to the duplicate clip by displaying a colored stripe across it.
Closed Captioning tools in Premiere Pro A. Display closed captions with content B. See captions on the Timeline You can import Closed Caption text, link it to the appropriate clips, edit the text, and adjust durations in the timeline from within Premiere Pro. When you're done, export your sequence to tape, or to Adobe Media Encoder, with embedded closed captions or as a separate Sidecar file. For more information about working with closed captions in Premiere Pro, see Closed Captioning.
Use the Create Multi-Camera Source Sequence option to automatically match multiple camera angles Auto-sync clips using audio waveforms Premiere Pro also lets you can merge clips by using audio waveforms. You can use audio recorded from a second source to automatically sync and create multicamera and merged clips using audio waveforms. Source Patching and Track Targeting Source patching and track targeting has been redesigned for faster and more efficient editing.
You can now snap the playhead to items when you drag it over the Timeline. When snapping is enabled, the Razor tool is selected, and the cursor snaps to any snapping target including the playhead. To use the multi-razor tool over all tracks, press the Shift key. To ignore track items, press the Alt key (Windows) or Option (Mac OS). New Snap Playhead preference Snap Playhead In Timeline When Snap Is Enabled is a new preference option that controls the behavior of the playhead when scrubbing.
To the top Audio enhancements Renamed Audio Mixer panel The Audio Mixer panel is now renamed the Audio Track Mixer. This name change helps you distinguish the Audio Track Mixer from the new Audio Clip Mixer panel. Audio Track Mixer The pop-up menu in the Audio Track mixer is redesigned to display the audio plug-ins in categorized subfolders for a faster selection. Enhanced Timeline track header A horizontal Audio meter is now available in the audio track headers.
The Audio Clip Mixer lets you monitor and adjust the volume and pan of clips in sequence when the Timeline panel is in focus. Similarly, when the Source Monitor panel is in focus, the Audio Clip Mixer lets you monitor clips in the Source Monitor. Audio Clip Mixer To access the Audio Clip Mixer, choose Window > Audio Clip Mixer from the main menu. For more information, see Monitor clip volume and pan using Clip Mixer.
Color-related enhancements Integration of Lumetri Deep Color Engine Premiere Pro now includes the Lumetri Deep Color Engine. You can instantly apply SpeedGrade .look files and pre-made Lookup Tables (LUTs) to your sequences from within Premiere Pro. Use the new integrated Looks browser in the Effects panel to apply preset color grading effects, or to locate exported .looks from SpeedGrade or LUTs from other systems. For more information, see Apply SpeedGrade color-correction within Premiere Pro.
Playhead and Select In to Out. Move selected clips to different tracks Use the Nudge Clip Selection Up and Nudge Clip Selection Down keyboard shortcuts to move selected clips up or down to different tracks. For the complete list of available keyboard shortcuts, see Keyboard shortcuts in Premiere Pro CC. To the top Other changes GPU processing changes You can now enable OpenCL or CUDA processing on any card that meets minimum requirements (1-GB RAM, basic shader tests).
What's new in Adobe Media Encoder CC 7.1 and CC 7.2 This article describes the new and changed features in Adobe Media Encoder CC 7.2 and CC 7.1 releases. See the What's new in AME CC document for information on changes in the AME CC 7.0 release. Enhancements in AME 7.2 Changes in AME 7.1 Improvements to AVCI export GPU acceleration DNxHD presets Interpret footage Native Premiere Pro and Prelude project loading FCP XML support Sync settings Effects settings To the top Enhancements in AME 7.2 The AME 7.
GPU acceleration Adobe Media Encoder now takes advantage of GPU for rendering purposes. Both CUDA and OpenCL are supported. The latest release of AME uses the GPU for the following renders: Scaling (HD to SD; SD to HD) Timecode filter Pixel format conversions Deinterlacing Aspect ratio changes All effects that are in Effects tab GPu accelerated effects in Premiere Pro AME also supports CUDA and OpenCL GPU acceleration.
Sync settings AME now supports Sync Settings, a feature found in several Creative Cloud applications including Adobe Premiere Pro and After Effects. If you work on Creative Cloud applications on two machines, you probably want to maintain the same application settings on both your machines. Through the Sync Settings feature, you can upload the settings to your Creative Cloud account from one machine and download and apply them on your second machine.
Workspace and workflow 45
Workspaces Import a workspace with a project Customizing workspaces Brighten or darken the interface The 2-up editing workspace For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press. For an overview of the Premiere Pro interface, see this video from Learn By Video and Video2Brain by Maxim Jago. To the top Import a workspace with a project Workspace selections and customizations made in a project are saved in the project file.
Example workspace A. Application window B. Grouped panels C. Individual panel Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly. Open the project you want to work on, choose Window > Workspace, and select the desired workspace.
panels. Dragging panel (A) onto grouping zone (B) to group it with existing panels (C) Dock or group panels 1. If the panel you want to dock or group is not visible, choose it from the Window menu. 2. Do one of the following: To move an individual panel, drag the gripper area in the upper-left corner of a panel's tab onto the desired drag zone. Drag panel gripper to move one panel To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone.
When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window. You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces in earlier versions of Adobe applications. Select the panel you want to undock (if it’s not visible, choose it from the Window menu), and then do one of the following: Choose Undock Panel or Undock Frame from the panel menu. Undock Frame undocks the panel group.
To open a panel, choose it from the Window menu. To close a panel or window, press Control-W (Windows) or Command-W (Mac OS), or click its Close button . To see all the panel tabs in a narrow panel group, drag the horizontal scroll bar. To bring a panel to the front of a group of panels, do one of the following: Click the tab of the panel you want in front. Hover the cursor above the tab area, and turn the mouse scroll wheel. Scrolling brings each panel to the front, one after another.
To the top Brighten or darken the interface You can lower the brightness, as when working in a darkened editing suite or when making color corrections. Changing the brightness affects panels, windows, and dialog boxes but does not affect scroll bars, title bars, and menus that aren’t inside panels. In addition, the change doesn’t affect the application background on Windows. 1. Choose Edit > Preferences > Appearance (Windows) or Premiere Pro > Preferences > Appearance (Mac OS). 2.
Sync settings New in Premiere Pro CC When you work with Adobe® Premiere® Pro on multiple machines, managing and syncing preferences, presets, and libraries between them can be time-consuming, complex, and error-prone. The new Sync Settings feature lets you sync your general preferences, keyboard shortcuts, presets, and libraries to the Creative Cloud. For example, if you use more than one computer, the Sync Settings feature helps keep settings synchronized across machines.
Adobe ID] > Use Settings From a Different Account. Enter the Adobe ID and password. The settings for that Creative Cloud account are downloaded and applied, and the user name appears in the Welcome Screen. To the top Managing Sync Clear Settings You can clear all settings and revert to default settings. Select Edit > [your Adobe ID] > Clear Settings. Note: If you select Clear Settings while a project is open, Premiere Pro saves and closes the current project to proceed.
When you select Ask My Preference, the Sync Settings dialog opens, prompting you to upload or download your settings. Upload Settings: Syncs settings from your computer to Creative Cloud. Download Settings: Syncs settings from Creative Cloud to your computer, overwriting the local version with the Creative Cloud version of settings. Automatically clear settings on application quit Select this preference option to clear the sync settings every time you quit Premiere Pro.
Direct-Link workflow between Premiere Pro and SpeedGrade New in the October 2013 release of Premiere Pro CC (version 7.1) and SpeedGrade CC (version 7.1) About Direct Link Edit and grade Premiere Pro sequences with Direct Link Open Premiere Pro projects directly in SpeedGrade Limitations in Direct-Link mode To the top About Direct Link The Direct-Link workflow is a new and integrated edit-and-grade workflow between Premiere Pro CC and SpeedGrade CC.
Step 1: Select Premiere Pro sequence Select the Premiere Pro sequence that you want to color grade. Note: Ensure that you have selected the sequence in the Timeline or Project panel. Step 2: Send sequence to SpeedGrade using Direct Link Using Direct Link, you can send a sequence from an open Premiere Pro project directly to SpeedGrade without exporting the project. To use Direct Link, select File > Direct Link To Adobe SpeedGrade.
A. Premiere Pro project sequence B. Premiere Pro sequence color graded in SpeedGrade The Direct-Link workflow has been designed to let you focus on the color correction and grading tasks when you are in SpeedGrade. Because of this focus, only the Color and Look tabs in SpeedGrade are available in the Direct-Link mode. For more details, see Direct-Link workflow limitations.
When you open a Premiere Pro project, the Sequence Importer dialog opens showing all the sequences contained in the project. Select a sequence to open. Note: SpeedGrade cannot open more than one Premiere Pro sequence at the same time. Within SpeedGrade, you can apply primary and secondary color correction, apply Looks and Masks, and do all the required color grading. Note: You cannot send SpeedGrade (.IRCP) projects back to Premiere Pro. To use Direct Link you need to start with a Premiere Pro project (.
rendering. So, the Render and Results tabs are unavailable when using Direct Link. SpeedGrade can open only one Premiere Pro sequence at a time, and not multiple sequences at once. To open a different sequence in the project, open the Sequence Importer dialog by clicking in the SpeedGrade Timeline. You cannot launch the Media Browser to browse through media, so the Media tab is unavailable when using Direct Link. You cannot add clips to the Premiere Pro sequence within SpeedGrade.
Using the Source Monitor and Program Monitor Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor Using the Source Monitor and Program Monitor time controls View safe zones in the monitors Choose fields in the Source and Program Monitors Choose a display mode To the top Source Monitor and Program Monitor overview The Source Monitor plays back individual clips.
The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain. Customizing the monitor panel button bar By default, the most useful buttons are displayed along the bottom of the Source and Program Monitors. However, you can add more.
1. Do one of the following: Right click the image in the Source Monitor or Program Monitor. Click the Panel Menu icon in the Source Monitor or Program Monitor. Click the Settings button in the Source Monitor or Program Monitor. 2. Do one of the following: To set playback resolution, select Playback Resolution. To set paused resolution, select Paused Resolution. 3. From the menu, select the resolution desired.
1. To open a clip, do any of the following: Double-click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor. The clip appears in the Source Monitor and its name is added to the Source menu. Drag multiple clips or an entire bin from the Project panel into the Source Monitor, or select multiple clips in the Project panel and double-click them.
3. Set keyboard shortcuts for any of the following commands: Source Clip: Close Source Clip: Close All Source Clip: First Source Clip: Last Source Clip: Next Source Clip: Previous 4. Click OK. To the top Using the Source Monitor and Program Monitor time controls The Source Monitor has several controls for moving through time (or frames) in a clip. The Program Monitor contains similar controls for moving through a sequence. A. Current time display B. Playhead C. Zoom scroll bar D. Time Ruler E.
Note: Changing the Program Monitor’s time ruler or zoom scroll bar does not affect the time ruler or viewing area in a Timeline panel. Viewing Source and Program Monitor controls You can show or hide controls from the panel menus of the Source and Program Monitors. For example, you may wish to hide transport controls if you know the J-K-L keyboard shortcuts for playback to gain more space to view your media.
2. Select Display First Field, Display Second Field, or Display Both Fields according to your need. To the top Choose a display mode You can display normal video, the video’s alpha channel, or one of several measurement tools. In the Source Monitor or Program Monitor, click the Settings button, or click the panel menu and choose a display mode setting: Composite Video Displays the normal video. Alpha Displays transparency as a grayscale image.
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Multi-Camera editing workflow Enhanced in Premiere Pro CC October 2013 release (version 7.
4. Create a multi-camera target sequence Edit the multi-camera source sequence in a target sequence. To create a target sequence, with the multi-camera source sequence selected in the Project panel, select File > New > Sequence From Clip. You can also right-click (Win) or Ctrl-click (Mac) on the multi-camera source sequence and select New Sequence From Clip from the context menu. Premiere Pro creates a new multi-camera target sequence, and opens it in the Program Monitor and Timeline panel. 5.
You can use keyboard shortcuts for multi-camera editing. You can use the number keys to switch cameras as the multi-camera sequence plays. The keyboard shortcuts can also be used to change angles after completing a multi-camera edit. For more information, see Multi-camera keyboard shortcuts. 9. Export the multi-camera sequence With the sequence active in the Program Monitor or Timeline panel, select File > Export > Media.
Camera 1 clip. In most scenarios, the Automatic preset is the appropriate setting. For advanced workflows, like editing a sequence using proxy resolution clips, you can choose a specific sequence preset. You can then use a higher resolution/frame size clips for the final edit. Offset audio and moving source clips If a separately recorded audio track is out of sync with the video clip, you can add a frame offset using the Offset Audio by option.
addition to the default option of enumerated camera names like camera 1, camera 2. Depending on the Camera Names option that you select, the camera angles are displayed as track names, clip names, or camera numbers in the Source Monitor. To view the multi-camera sequence in the Source monitor, right-click the sequence and select Multi-camera.
Multiclips sequences appear as multi-camera sequences with all the Final Cut Pro project settings intact. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Control surface support New in Premiere Pro CC Adobe® Premiere® Pro provides a hardware control interface that lets you connect hardware control devices with the application. The hardware control interface supports Mackie and Eucon protocols. After configuring your devices, you can control Premiere Pro's editing environment using buttons, knobs, and faders on the devices. To the top Setting Control Surface preferences Use the Control Surface preferences dialog to configure your hardware control device.
accurately matches the placement of the fader in the Track Mixer. Any movement of the fader control in the Track Mixer affects the fader of the control surface. Control surfaces usually have a limited number of faders. Sometimes, the number of tracks in your sequence exceed the number of corresponding control surface faders. In this case, navigate additional tracks using the bank and nudge buttons on the control surface. The bank buttons navigate to the next set of tracks in the project.
Keyboard shortcuts in Premiere Pro CC Premiere Pro CC default keyboard shortcuts Multi-Camera (keyboard shortcuts) Project panel (keyboard shortcuts) Timeline panel (keyboard shortcuts) Titler (keyboard shortcuts) Trim Monitor panel (keyboard shortcuts) Find keyboard shortcuts Customize or load keyboard shortcuts Remove shortcuts Printing keyboard shortcuts Print a spreadsheet of the keyboard shortcuts Print a PDF of the keyboard shortcuts Many commands have keyboard shortcut equivalents, so you can comple
Redo Ctrl+Shift+Z Shift+Cmd+Z Cut Ctrl+X Cmd+X Copy Ctrl+C Cmd+C Paste Ctrl+V Cmd+V Paste Insert Ctrl+Shift+V Shift+Cmd+V Paste Attributes Ctrl+Alt+V Opt+Cmd+V Clear Delete Forward Delete Ripple Delete Shift+Delete Shift+Forward Delete Duplicate Ctrl+Shift+/ Shift+Cmd+/ Select All Ctrl+A Cmd+A Deselect All Ctrl+Shift+A Shift+Cmd+A Find... Ctrl+F Cmd+F Edit Original Ctrl+E Cmd+E Make Subclip... Ctrl+U Cmd+U Audio Channels... Shift+G Shift+G Speed/Duration...
Mark In I I Mark Out O O Mark Clip X X Mark Selection / / Go to In Shift+I Shift+I Go to Out Shift+O Shift+O Clear In Ctrl+Shift+I Opt+I Clear Out Ctrl+Shift+O Opt+O Clear In and Out Ctrl+Shift+X Opt+X Add Marker M M Go to Next Marker Shift+M Shift+M Go to Previous Marker Ctrl+Shift+M Shift+Cmd+M Clear Current Marker Ctrl+Alt+M Opt+M Clear All Markers Ctrl+Alt+Shift+M Opt+Cmd+M Left Ctrl+Shift+L Shift+Cmd+L Center Ctrl+Shift+C Shift+Cmd+C Right Ctrl+Shift+R
Add Tracks to Match Source Clear Poster Frame Ctrl+Shift+P Opt+P Cut to Camera 1 Ctrl+1 Ctrl+1 Cut to Camera 2 Ctrl+2 Ctrl+2 Cut to Camera 3 Ctrl+3 Ctrl+3 Cut to Camera 4 Ctrl+4 Ctrl+4 Cut to Camera 5 Ctrl+5 Ctrl+5 Cut to Camera 6 Ctrl+6 Ctrl+6 Cut to Camera 7 Ctrl+7 Ctrl+7 Cut to Camera 8 Ctrl+8 Ctrl+8 Cut to Camera 9 Ctrl+9 Decrease Clip Volume [ [ Decrease Clip Volume Many Shift+[ Shift+[ Expand All Tracks Shift+= Shift+= Export Frame Ctrl+Shift+E Shift+E Extend N
Delete Backspace Delete Open in Source Monitor Shift+O Shift+O Parent Directory Ctrl+Up Cmd+Up Select Directory List Shift+Left Shift+Left Select Media List Shift+Right Shift+Right Loop Ctrl+L Cmd+L Play Space Space Go to Next Edit Point Down Down Go to Previous Edit Point Up Up Play/Stop Toggle Space Space Record On/Off Toggle 0 0 Step Back Left Left Step Forward Right Right Loop Ctrl+L Cmd+L Selection Tool V V Track Select Tool A A Ripple Edit Tool B B Ro
Increase Clip Volume Many Shift+] Shift+] Maximize or Restore Active Frame Shift+` Shift+` ` ` Minimize All Tracks Shift+- Shift+- Play Around Shift+K Shift+K Play In to Out Ctrl+Shift+Space Opt+K Play In to Out with Preroll/Postroll Shift+Space Shift+Space Play from Playhead to Out Point Ctrl+Space Ctrl+Space Play-Stop Toggle Space SpaceRecord Voiceover Reveal Nested Sequence Ctrl+Shift+F Shift+T Ripple Trim Next Edit To Playhead W W Q Q Select Camera 1 1 1 Select Camer
Shuttle Stop K K Step Back Left Left Step Back Five Frames - Units Shift+Left Shift+Left Step Forward Right Right Step Forward Five Frames - Units Shift+Right Shift+Right Toggle All Audio Targets Ctrl+9 Cmd+9 Toggle All Source Audio Ctrl+Alt+9 Opt+Cmd+9 Toggle All Source Video Ctrl+Alt+0 Opt+Cmd+0 Toggle All Video Targets Ctrl+0 Cmd+0 Toggle Audio During Scrubbing Shift+S Shift+S Toggle Full Screen Ctrl+` Ctrl+` Toggle Multi-Camera View Shift+0 Shift+0 Toggle Trim Type S
Workspace 9 Alt+Shift+9 Opt+Shift+9 Zoom to Sequence \ \ Extend Selection Up Shift+Up Shift+Up Move Selection Down Down Down Move Selection End End End Move Selection Home Home Home Move Selection Left Left Left Move Selection Page Down Page Down Page Down Move Selection Page Up Page Up Page Up Move Selection Right Right Right Move Selection Up Up Up Next Column Field Tab Tab Next Row Field Enter Return Open in Source Monitor Shift+O Shift+O Previous Column Field S
Nudge Clip Selection Right Five Frames Alt+Shift+Right Shift+Cmd+Right Nudge Clip Selection Right One Frame Alt+Right Cmd+Right Ripple Delete Alt+Backspace Opt+Delete Set Work Area Bar In Point Alt+[ Opt+[ Set Work Area Bar Out Point Alt+] Opt+] Show Next Screen Page Down Page Down Show Previous Screen Page Up Page Up Slide Clip Selection Left Five Frames Alt+Shift+, Opt+Shift+, Slide Clip Selection Left One Frame Alt+, Opt+, Slide Clip Selection Right Five Frames Alt+Shift+.
Increase Kerning by Five Units Alt+Shift+Right Opt+Shift+Right Increase Kerning by One Unit Alt+Right Opt+Right Increase Leading by Five Units Alt+Shift+Up Opt+Shift+Up Increase Leading by One Unit Alt+Up Opt+Up Increase Text Size by Five Points Ctrl+Alt+Shift+Right Opt+Shift+Cmd+Right Increase Text Size by One Point Ctrl+Alt+Right Opt+Cmd+Right Insert Copyright Symbol Ctrl+Alt+Shift+C Opt+Shift+Cmd+C Insert Registered Symbol Ctrl+Alt+Shift+R Opt+Shift+Cmd+R Italic Ctrl+I Cmd+I Li
Vertical Type Tool C C Wedge Tool W W Trim Monitor panel (keyboard shortcuts) Result Windows Mac OS Focus Both Outgoing and Incoming Alt+1 Opt+1 Focus on Incoming Side Alt+3 Opt+3 Focus on Outgoing Side Alt+2 Opt+2 Loop Ctrl+L Cmd+L Alt+Shift+Left Opt+Shift+Left Trim Backward by One Frame Alt+Left Opt+Left Trim Forward by Large Trim Offset Alt+Shift+Right Opt+Shift+Right Trim Forward by One Frame Alt+Right Opt+Right Trim Backward by Large Trim Offset To the top Find keyboa
2. In the Keyboard Customization dialog box, choose an option from the menu: Application Displays commands found in the menu bar, organized by category. Panels Displays commands associated with panels and menus. Tools Displays a list of tool icons. 3. In the Command column, view the command for which you want to create or change a shortcut. If necessary, click the triangle next to the name of a category to reveal the commands it includes. 4. Click in the item’s shortcut field to select it. 5.
Printing keyboard shortcuts Many editors like to have a keyboard shortcuts document they can search and refer to. Premiere Pro offers a way to copy and paste keyboard shortcuts into a document, and then print. There are also pages in Help documentation that you can print, or save as a PDF. Whether you are copy and pasting into a document, printing a PDF, or inspecting the Keyboard Shortcuts dialog box, it is important to note the available commands that are mappable to the keyboard.
Cross-application workflows Edit a clip in its original application Working with Photoshop and Premiere Pro Copy between After Effects and Premiere Pro Working with Adobe Premiere Pro and Adobe Flash Working with Adobe Premiere Pro and Adobe SpeedGrade Working with Adobe Story and Adobe Premiere Pro Working with Encore and Premiere Pro Working with Apple Final Cut Pro and Adobe Premiere Pro Working with Avid Media Composer and Adobe Premiere Pro You can use various other Adobe applications to enhance or mo
Franklin McMahaon provides a video tutorial that demonstrates creating a title in Photoshop for use in Premiere Pro in this video tutorial from Layers Magazine. This Premiere Pro tutorial video by Phil Hawkins at Infinite Skills shows how to import files between Photoshop and Premiere Pro. Jarle Leirpoll shows how to automate production of lower thirds with Photoshop and Premiere Pro in this article on the ProVideo Coalition website.
Photoshop opens with a new blank still image. The pixel dimensions match the project’s video frame size, and image guides show the titlesafe and action-safe areas for the project. Edit a still image file in Photoshop From within a project, you can open an image file in most formats that Adobe Photoshop supports. Premiere Pro does not import files in CMYK or LAB color formats. 1. Select a still-image clip in either the Project panel or Timeline panel. 2. Choose Edit > Edit In Adobe Photoshop.
4. In Adobe Premiere Pro, open a sequence in the Timeline panel. 5. Move the current-time indicator to the desired location, and choose either Edit > Paste or Edit > Paste Insert.
1. Select an asset from the Adobe Premiere Pro Timeline panel. 2. Choose Edit > Copy. 3. In After Effects, open a composition in the Timeline panel. 4. With the Timeline panel active, choose Edit > Paste. The asset appears as the topmost layer in the Timeline panel. Note: To paste the asset at the current-time indicator, place the current-time indicator and press Ctrl+Alt+V (Windows) or Command+Option+V (Mac OS).
Video effect properties and keyframes Effect properties and keyframes, if the effect also exists in After Effects After Effects doesn’t display unsupported effects in the Effect Controls panel. Volume and Channel Volume audio filters Stereo mixer effect Other audio filters are not converted.
For an overview of all the features in Adobe Story, see this video. To the top Working with Encore and Premiere Pro Note: To use Encore CS6 with Premiere Pro CC, see the following resources: Installing Premiere Pro CC and Encore CS6 Using Encore CS6 with Premiere Pro CC Encore CS6 not installed with Creative Cloud Using Adobe Encore CS6 and Adobe Premiere Pro, you can burn a single sequence to DVD or Blu-ray Disc. You can burn each sequence in your project to a separate DVD or Blu-ray Disc.
Check the functionality and the look of your DVD or Blu-ray Disc menus in the Preview DVD window. Burn the disc With a DVD or Blu-ray Disc burner installed or connected, you can burn your content to disc. You can save the compressed files to a folder for playback from a computer hard drive. You can also save an ISO image to distribute or burn to a DVD. Note: Encore creates DVDs that conform to DVD-video format. It does not create data or audio DVDs.
Setting up your system Set up a DV or HDV system Set up an SD-SDI, HD-SDI, or component system Set up a file-based system Set up an S-Video or composite system Specify the default audio device Specify ASIO device settings (Windows only) Specify whether to render audio when rendering video Specify the duration for preroll and postroll pauses Specify scratch disks to improve system performance Move or clean the Media Cache Database Optimize rendering for available memory For Premiere Pro system requirements,
2. Connect the camcorder or VTR to the television monitor with an S-Video or RCA video cable and RCA audio cables, or an HDMI cable. 3. Set the camcorder or VTR to VTR or Play mode. 4. (For HDV camcorders or VTRs only) Make sure the device is in DV playback mode for DV projects, or HDV playback mode for HDV projects. See the user manual for your device for details. To the top Set up an SD-SDI, HD-SDI, or component system SDI/component setup with breakout box A. Computer and computer monitor B.
Note: Native serial device control is available in Windows only. 4. Connect the deck or camcorder to the television monitor with component video cables and to amplified speakers with RCA audio cables. 5. Put the camcorder or deck into VTR or Play mode. 6. In Premiere Pro, select File >New > Sequence. 7. In the Available Presets area of the New Sequence dialog box, select the SDI or component preset that matches the format of your source footage. Premiere Pro does not provide these presets.
To the top Set up an S-Video or composite system S-Video/composite setup A. Computer and computer monitor B. Ports and connectors for FireWire, USB 2.0 C. A/D converter D. Jacks and plugs for RCA composite video, S-Video (y/c) E. RS 232/422 port and connector F. RCA jacks and plugs for L (white) and R (red) audio G. Analog camcorder, analog VTR H. RCA jacks and plugs for L (white) audio, R (red) audio, and composite video (yellow); jack and plug for S-Video (y/c) I.
1. Choose Edit > Preferences > Audio Hardware (Windows) or Premiere Pro > Preferences > Audio Hardware (Mac OS), and set the following options: Select an output device from the Default Device menu. Select a buffer size from the Buffersize menu (Mac OS). 2. Click OK. Audio Hardware Settings (Windows only) When you click ASIO Settings in the Audio Hardware panel of the Preferences dialog box, Premiere Pro opens the Audio Hardware Settings dialog box, which contains an Input tab, and an Output tab.
4. Check the boxes next to the names of any devices you want to enable. 5. Check Device 32-bit Recording if you want to record 32-bit audio. 6. Drag the Samples slider to set the size of the buffer. 7. Click OK. To the top Specify whether to render audio when rendering video You can specify whether Premiere Pro renders audio previews by default. Select Sequence > Render Effects In to Out, or Sequence > Render In to Out.
fast as possible, without having to access other files. Use the Project > Project Settings > Scratch Disks command to specify which disks Premiere Pro uses for media files. Choose scratch disks when you set up a new project. In terms of performance, it’s best to dedicate a different disk to each asset type, but you can also specify folders on the same disk.
On Windows, specify only partitions formatted for the NTFS file format as scratch disks. On Mac OS, use partitions formatted for Mac OS Extended. FAT32 partitions are not recommended for video. They do not support large file sizes. Note: Third-party tools are available that allow NTFS drives to work with Mac OS. See Tuxera NTFS for Mac, and Paragon NTFS for Mac. On Mac OS, disable journaling for best performance. Specify your fastest hard disks for capturing footage and storing scratch files.
Cleaning the database and cache with the Clean button does not remove files that are associated with footage items for which the source files are still available. To manually remove conformed files and index files, navigate to the media cache folder and delete the files. To the top Optimize rendering for available memory By default, Premiere Pro renders video using the maximum number of available processors, up to 16.
Preferences Change preferences General preferences Appearance preferences Audio Preferences Audio Hardware preferences Audio Output Mapping preferences Change the Auto Save settings Capture preferences Device Control preferences Label Colors preferences Label Defaults preferences Media preferences Memory preferences Playback Settings preferences Sync Settings Titler preferences Trim preferences To the top Change preferences You can customize the look and behavior of Premiere Pro, from determining the defa
for Windows and vertical for Mac OS. For Windows, press the Ctrl key to switch to vertical scrolling. You can specify whether Adobe Premiere Pro, by default, displays timeline playback by page scroll, by smooth scroll, or no scroll. In page scrolling, each new view of the timeline appears after the playhead moves offscreen. In smooth scrolling, the playhead remains in the middle of the screen, while the clips and time ruler move by.
represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. If you don’t select this option, Premiere Pro may create several incremental keyframes of identical values between those two points, depending on the speed at which you change the value. This option is selected by default. Minimum Time Interval Thinning Creates keyframes only at intervals larger than the value you specify. Enter a value between 1 and 2000 milliseconds.
Note: For P2 DVCPRO 50 and P2 DVCPRO HD projects, the Capture Format setting is not relevant, because the assets are captured and recorded directly to the P2 card as digital files by the camera. To the top Device Control preferences In the Device Control pane of the Preferences dialog box, you specify the settings Premiere Pro uses to control a playback/recording device, such as a VTR or camcorder.
Playback Settings preferences In the Playback Settings pane of the Preferences dialog box, you can select the default player for audio or video, and set preroll and postroll preferences. You can also access device settings for third-party capture cards.
Working with Panels Navigate the panels Display any panel full-screen Display panel options Display context and panel menus Tools panel and Options panel Clip details in the Info panel To the top Navigate the panels You can use keyboard shortcuts to activate panels in rotation. Do one of the following: To activate panels in rotation to the right, press Ctrl+Shift+. (period) (Windows), or Control+Shift+. (period) (Mac OS).
In Photoshop, you can change the font size of the text in panels and tool tips. In the Interface preferences, choose a size from the UI Font Size menu. To the top Display context and panel menus In addition to choosing from the menus at the top of your screen, you can choose from context menus, which display commands relative to the active tool or selected item. Panel menus display commands relative to the active panel. To display panel menus, click the button in the upper-right corner of the panel.
preserves all edits to the left or right of the trimmed clip. For more information about using the Ripple Edit tool, see Making rolling and ripple edits or this video tutorial about the Ripple Edit Tool by Andrew Devis Rolling Edit Tool Select this tool to roll the edit point between two clips in a Timeline. The Rolling Edit Tool trims the In point of one and the Out point of the other, while leaving the combined duration of the two clips unchanged.
Clip details in the Info panel The Info panel displays several data about a selected item, and timecode information for clips under the current-time indicator in the Timeline. At the top of the panel, information is displayed for the current selection. This information varies depending on its media type, the active panel, and so on. For example, the Info panel displays information unique to an empty space in a Timeline panel, or a clip in the Project panel.
Adobe Dynamic Link About Dynamic Link Dynamic Link performance Create and link to After Effects compositions with Dynamic Link Delete a dynamically linked composition or clip Modify a dynamically linked composition in After Effects Create an After Effects composition from clips in Premiere Pro Offline compositions and Dynamic Link To the top About Dynamic Link In the past, sharing media assets among post-production applications has required you to render and export your work from one application before im
1. In a sequence, select the clips you want in the composition. 2. Right-click any of the selected clips. 3. Select Replace With After Effects Composition. Create a dynamically linked composition from Adobe Premiere Pro or Encore Creating a new dynamically linked composition from Adobe Premiere Pro or Encore launches After Effects.After Effects then creates a project and composition with the dimensions, pixel aspect ratio, frame rate, and audio sample rate of the originating project.
Delete a dynamically linked composition or clip You can delete a linked composition from an Encore project if the composition isn’t used in the project. You can delete a linked composition from an Adobe Premiere Pro project at any time, even if the composition is used in a project. You can delete linked clips from the timeline of an Adobe Premiere Prosequence or from an Encore menu or timeline at any time. In Adobe Premiere Pro or Encore, select the linked composition or clip and press the Delete key.
Offline compositions appear with an Offline icon in the Adobe Premiere Pro Project panel. In Encore, the thumbnail preview displays the Offline icon when an offline asset is selected in the Project panel. If you’re working with an offline composition, you can relink it to the original After Effects composition. You can also choose to relink a linked composition to a different source composition.
Cross-platform workflow You can work on a project across computer platforms. For example, you can start on Windows and continue on Mac OS. A few functions change, however, as the project moves from one platform to the other. Sequence settings You can create a project on one platform and then move it to another. Premiere Pro sets the equivalent sequence settings for the second platform, if there is an equivalent.
Basic workflow The steps you take in editing video, from import or capture through final output, make up your workflow. The basic workflow describes the most general steps you would take with most projects. Specific types of workflows, such as the P2 workflow or the cross-platform workflow, explain the noteworthy settings, variations, or issues specific to each type.
Project panel and Capture panel You can also import various digital media, including video, audio, and still images. Premiere Pro also imports Adobe® Illustrator® artwork or Photoshop® layered files, and it translates After Effects® projects for a seamless, integrated workflow. You can create synthetic media, such as standard color bars, color backgrounds, and a countdown. (See About capturing and digitizing.) You can also use Adobe® Bridge to organize and find your media files.
Trim Monitor to fine-tune the cut point between clips. By nesting sequences—using a sequence as a clip within another sequence—you can create effects you couldn’t achieve otherwise. 4.Add titles Using the Premiere Pro full-featured Titler, create stylish still titles, title rolls, or title crawls that you can easily superimpose over video. If you prefer, you can modify any of a wide range of provided title templates.
sound mixer, or mix audio for 5.1 surround sound. For more information, see Mixing audio tracks and clips. 7.Export Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file. Using Adobe Media Encoder, you can customize the settings for MPEG-2, MPEG-4, FLV, and other codecs and formats, to the needs of your viewing audience. For more information, see Types of exporting. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
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Trim or copy your project 1. Choose Project > Project Manager. 2. In the Source pane of the Project Manager window, check the box next to each sequence you want to include in your trimmed project. To check all boxes, Shift-click any one box. Note: Nested sequences are not automatically added to the trimmed sequences. If the sequence(s) you are trimming contain nested sequences, you also need to include these nested sequences in the selection so they are included in the trimmed project. 3.
Rename Media Files To Match Clip Names Renames the copied footage files with the same names as your captured clips. Select this option if you rename your captured clips from within the Project window and want the copied footage files to have the same name. (Captured files that you import, especially those captured using scene detection, may not have intuitive names, so you may want to rename them from within the Project window.
Creating and changing projects Create a project Review project settings Project Settings dialog box Open a project Delete a project file Moving a project to another computer A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each effect.
2. Either choose New Project on the Welcome screen that appears when Premiere Pro starts up or, after the application is open, choose File > New > Project. 3. Browse to a location where you want to save the project file, name the project, and click OK. Note: Whenever possible, specify a location and name that you won’t have to change later. By default, Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project.
presets and settings. Capture Format For information about setting the capture format, see Set capture format, preferences, and tracks. Scratch Disks For information about designating scratch disks, see Specify scratch disks to improve system performance. Online Resources See this video tutorial by Andrew Devis on the Creative Cow website for information about the choices users must make in the Welcome screen, and the New Project and New Sequence dialog boxes after opening Premiere Pro.
missing files every time the project is opened. Offline All Like Offline, Offline All replaces all missing files with persistent offline files. Note: Do not delete source files while you are using them as clips in a Premiere Pro project unless they were captured using device control, and you plan to recapture them. After you deliver the final movie, you can delete source files. To the top Delete a project file 1.
Archiving projects The Premiere Pro Project Manager can help facilitate an efficient workflow by performing two functions: reducing the storage needs of a project, and consolidating the files associated with a project. Using Project Manager, you can create a version of your project, called a trimmed project, that references only the material used in your sequences. Also, you can specify which sequences to include in the trimmed project. You need not include all of them.
Importing footage 132
Transferring and importing files Supported file formats About file formats About transferring files About importing files Import files with the Media Browser Import files with the Import commands Import files using Adobe Bridge Start Adobe Bridge from Adobe Premiere Pro Import files from Adobe Bridge Channel support To the top Supported file formats Premiere Pro can import many video and audio formats.
Note: You can preview Native Canon XF files in the Media Browser, and the use of metadata is supported. R3D (RED camera) Adobe Premiere Pro supports RED Digital Cinema (R3D) files, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels user interface. For a summary of the features for RED (R3D) footage, including RMD and Red Rocket card support, see this video by Video2Brain or this blog post.
EPS GIF ICO (Icon File) (Windows only) JPEG (JPE, JPG, JFIF) PICT PNG PSD PSQ (Adobe Premiere 6 Storyboard) PTL, PRTL (Adobe Premiere title) TGA, ICB, VDA, VST TIF Supported video project file formats AAF (Advanced Authoring Format) AEP, AEPX (After Effects project) CSV, PBL, TXT, TAB (batch lists) EDL (CMX3600 EDLs) PLB (Adobe Premiere 6.x bin) (Windows only) PREL (Adobe Premiere Elements project) (Windows only) PRPROJ (Premiere Pro project) PSQ (Adobe Premiere 6.
To the top About transferring files Transferring projects from other computers When transferring project files, such as After Effects project files, Premiere Pro project files, or Final Cut Pro project files from another computer to the computer on which you import those project files into Premiere Pro, make sure that you transfer all the assets associated with the project files.
The folder structure for DVD-video assets To the top About importing files For a video overview of the ways to import assets into Premiere Pro, see the Adobe website. Importing is different from capturing. The Import command brings files that are already on your hard disk or other connected storage device into your project. Importing files makes them available to a Premiere Pro project. Premiere Pro lets you import numerous types of video, still images, and audio.
In the list of hard drives and folders in the Media Browser, click the triangles next to folder names to open them. 3. To view only files of certain types, click the triangle in the Files Of Type menu, and select a file type. To select an additional type, open the menu again and make another selection. Repeat until all desired types have been selected. 4. Select one or more files from the list of files.
1. Start Adobe Bridge from Premiere Pro. 2. In Adobe Bridge, double-click the clip. Premiere Pro imports the clip into the Project panel. You can also drag clips from the Adobe Bridge Content panel directly into the Premiere Pro Project panel. To the top Channel support Premiere Pro supports four-channel assets. Every processed pixel in the render pipeline uses four channels.
Importing assets from tapeless formats Import assets from file-based sources with Media Browser About spanned clips File-based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures. These formats include Panasonic P2 camcorders, Sony XDCAM HD and XDCAM EX camcorders, Sony CF-based HDV camcorders, and AVCHD camcorders.
DVD camcorders and DVD recorders capture video and audio into MPEG-encoded VOB files. VOB files are written into a VIDEO_TS folder. Optionally, ancillary audio files may be written into an AUDIO_TS folder. Note: Premiere Pro and Premiere Elements, do not import or decrypt encrypted DVD files. To the top Import assets from file-based sources with Media Browser You can import assets into Premiere Pro directly from tapeless media.
For P2 and XDCAM EX, Premiere Pro imports all of the spanned clips within a single shot or take as a single clip. It will import all the clips within a shot on a card when you select any one of them, provided none of the spanned clips is missing and the relevant XML is present. When one or more spanned clips are missing from a shot, Premiere Pro will import one or more of them depending on where the missing clips fall within the shot.
Importing still images Preparing still images before importing Importing Photoshop and Illustrator files Import images as an image sequence You can import individual still images into Premiere Pro or import a series of still images as a sequence. You can import still images from Adobe applications such as Photoshop and Illustrator. For information about the still-image formats that Premiere Pro imports, see File formats supported for import.
Import a layered Photoshop file When you import a layered file saved in Photoshop file formats, you can choose how to import the layers in the Import Layered File dialog box. Note: Some Photoshop layer attributes aren’t supported, such as special blending modes and the Knockout option. For best results, use basic transparency and opacity in Photoshop. Adobe Premiere Pro does support most Photoshop blending modes.
information on layers and flattening, see the application’s documentation. 1. Set the framerate for the still-image sequence. Select Edit > Preferences > Media (Windows), or Premiere Pro > Preferences > Media. Then, select a framerate from the Indeterminate Media Timebase menu. Click OK. 2. Make sure that each still-image filename contains an equal number of digits at the end and has the correct file extension—for example, file000.bmp, file001.bmp, and so forth. 3. Choose File > Import. 4.
Support for growing files Growing files are those that grow in duration after they are ingested. Adobe® Premiere® Pro supports growing files for those needing that workflow. Supported codecs for growing files include: AVCI50/100 IMX30/40/50 RDD9-compliant XDCAM HD 50/35/25/18 QuickTime wrapped files in these formats are supported in Premiere Pro CS6 (6.0.2), and later Support for growing files to automatically refresh, and how often they should refresh, is available in Media Preferences.
Working with timecode About timecode Choose timecode display format Change how timecode is displayed Stripe tape or replace timecode Capturing timecode Set timecode manually for a clip Enter timecode View timecode as a burn-in View source timecode in the Program Monitor View timecode in the Timecode panel To the top About timecode Many camcorders and high-end video decks record timecode, which marks specific frames with unique addresses.
Also, you can determine how Premiere Pro displays the frame count when a Frames or Feet And Frames display is chosen for a panel. You can make the frame count for every clip start at 0 or at 1, or you can have it converted from the source timecode. If a frame in a 30 fps clip has a source timecode of 00:00:10:00 the Timecode Conversion option gives this frame number 300. Premiere Pro converts 10 seconds at the 30 fps frame rate to 300 frames. 1.
You can ensure continuous timecode by recording timecode onto the tape before you use it. This process is called striping the tape. Striping is not necessary if you follow recommended shooting practices, but it can protect you from accidentally breaking timecode by miscuing a tape in your camera. Stripe a tape with timecode 1. Place an unused tape in the camera. It should have no timecode. 2. If you’re using a camera for striping, attach the lens cap and disable audio recording. 3.
To the top Capturing timecode The timecode of source video is captured when you use device control. Timecode capture with controllable analog devices depends on the precision of your tape deck. If your tape deck cannot read the timecode accurately, you may have to calibrate your system or manually assign the timecode to your movie by matching frames.
3. Click the Effect Controls panel to make the panel active. 4. Click the triangle next to Timecode to expose the options for this effect. 5. Adjust the options as needed. View sequence timecode as a burn-in 1. At the bottom of the Project panel, click the New Item icon . Select Transparent Video. Note: You can use an adjustment layer instead of transparent video to carry the timecode effect. 2. Drag the transparent video clip to an empty track in the sequence higher than all other video tracks. 3.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Importing XML project files fromFinal Cut Pro Import an XML file from Final Cut Pro Final Cut Pro clip data Final Cut Pro effects and transitions Final Cut Pro composite modes Final Cut Pro Multiclips You can import entire projects, selected clips, or selected sequences that you export from Final Cut Pro as XML files. In Premiere Pro, bins and clips have the same hierarchies and names that they have in the Final Cut Pro source projects.
Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects. Additionally, Premiere Pro converts some Final Cut Pro effects and transitions according to the following tables: Table 1.
Final Cut Pro mode Premiere Pro mode Normal Normal Add Linear Dodge (Add) Subtract Not supported Difference Difference Multiply Multiply Screen Screen Overlay Overlay Hard Light Hard Light Soft Light Soft Light Darken Darken Lighten Lighten Travel Matte Alpha Not supported Travel Matte Luma Not supported To the top Final Cut Pro Multiclips Premiere Pro converts uncollapsed Final Cut Pro Multiclips, with as many as four inputs, to Multi-camera sequences.
Importing sequences, clip lists,libraries, and compositions Importing earlier Premiere Pro projects Import selected sequences from Premiere Pro projects Import a Premiere Elements project (Windows only) Importing libraries (Windows only) Importing After Effects compositions Import CMX3600 EDL projects To the top Importing earlier Premiere Pro projects You can add the contents of a project made with earlier version of Premiere Pro on either Mac OS or Windows.
3. Click Open. Premiere Pro converts the Premiere Elements project file to a Premiere Pro project file. To the top Importing libraries (Windows only) Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file. Although Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files, in Windows only.
2. Click Open. Adobe also recommends Copying and pasting between After Effects and Premiere Pro Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Importing digital audio Using audio from audio CDs Using compressed audio formats Using audio from Adobe Soundbooth Audio sample rates supported Conforming audio You can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored on computer hard disks, audio CDs, or digital audio tape (DAT) as binary data readable by computers. To keep quality as high as possible, transfer digital audio files to your computer via digital connections.
48000 Hz 96000 Hz To the top Conforming audio Premiere Pro processes each audio channel, including audio channels in video clips, as 32-bit floating-point data at the sequence sample rate. This processing assures maximum editing performance and audio quality. Premiere Pro conforms certain types of audio to match the 32-bit format and the sequence sample rate. If conforming is required, it is done when a file is imported into a project for the first time. Conforming takes some time and disk space.
Digitizing analog video About capture card settings Digitize analog video In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer. Alternatively, you can dub the analog footage to a digital format, and then capture the video from a digital device through a capture card as any other digital source.
To start a new project using a capture card, click New Project, select the capture card’s preset (if available) from the Load Preset pane, and click OK. To open an existing project using a capture card, select an existing project that was set up with the capture card’s preset. To start a new project using an external device, such as a camcorder or deck, to digitize, click New Project, select a DV or HDV preset that matches your target television standard and format, and click OK.
Create clips for offline editing Create low-resolution clips for offline editing Replace low-resolution clips with high-resolution clips for online editing For online editing, you edit clips at the level of quality required for the final version of the video program. This is the default method of working in Premiere Pro. Online editing works well when the speed and storage capacity of the host computer are adequate to the demands of the video formats used.
To the top Replace low-resolution clips with high-resolution clips for online editing You can replace low-resolution copies of assets with the original high-resolution so that you can render a project at full resolution. 1. Select Clip > Replace Footage. Browse to the original high-resolution clip that has the same filename as the low-resolution clip you selected, and select it. Click Select. 2. Repeat the previous two steps for each low-resolution clip used in the project.
Capturing and digitizing About capturing and digitizing System requirements for capturing Set capture format, preferences, and tracks Capture from stereo sources to mono tracks File size limits Set up device control Disable device control Capture without device control Capture with device control Determine whether your device is online Log clips with automatic scene detection Common capture issues Andrew Devis demonstrates capturing and batch capturing from miniDV tape using Adobe Premiere Pro in this vide
For recording audio from analog sources, a supported audio card with an analog audio input. A codec (compressor/decompressor) for the type of footage you want to capture. Premiere Pro has its own codecs for importing DV and HDV footage. Plug-in software codecs are available for other types. Hardware codecs are built in to some capture cards. A hard disk capable of sustaining the data rate for the type of footage you want to capture. Sufficient disk space for the captured footage.
1. With a project open, choose File > Capture, and select the Settings tab. 2. In the Capture Settings pane, click Edit. 3. In the Capture Settings dialog box, select an option from the Capture Format menu. 4. Click OK. Note: When capturing DV formats, Premiere Pro will use QuickTime as the container for the DV codec in Mac OS and AVI is used for Windows. When capturing HDV, Premiere Pro will use MPEG as the format. For other formats, you must use a video capture card for digitizing or capturing.
footage. NTFS formatting does not limit file size. It is best to use NTFS-formatted disks as the scratch disks where you capture video and for the target hard drives where you export video files. However, other components of your video editing system can limit file size. To the top Set up device control You can use device control to manage and automate video capture and to export sequences to tape.
Set up a device for device control Premiere Pro supports the control of devices such as camcorders and VTRs. Premiere Pro controls DV and HDV devices by way of IEEE 1394 (FireWire, i.Link) connections. Premiere Pro controls serially-controlled devices by way of third-party RS-232 or RS-422 controllers installed on the computer. 1. To open the Device Control Preferences dialog box, choose Edit > Preferences > Device Control (Windows) or Premiere Pro > Preferences > Device Control (Mac OS). 2.
4. (Optional) If you are connecting a DV or HDV device, make your selections from the Video Standard, Device Brand, Device Type, and Timecode Format menus. In the Device Type menu, if your particular model is not listed, do one of the following: select a model from the same family (if known), leave at Standard, click Go Online For Device Info. 5. If you are connecting a serial device, make your selections from the Protocol, Port, Time Source, and Time Base menus.
5. In the Time Control section, select a time source and timebase for your device. Device controls in the Capture panel You can use the controls in the Capture panel to operate the device as you log clips. The jog control lets you navigate quickly to nearby lets you change the speed of the tape as you play it forward or backward. The Record button lets you begin a frames. The shuttle control manual capture. when the tape is stopped, the device rewinds the tape at full speed.
These settings are preserved for the project, but you can set them again for each new project. 4. In the Setup area of the Logging pane, choose your media type from the Capture menu. 5. 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. 6. Press the Play button on the deck or camcorder, and then click the red Record button in the Capture panel. 7.
8. You can capture frames that extend beyond the In and Out points of each clip. Enter the number of frames in the Handles box in the Capture area. 9. Click Tape. 10. To stop capturing at the end of a portion, click the Stop button. Otherwise capturing stops when the tape comes to its end. Select and capture a clip 1. Choose File > Capture. 2. (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your project.
Scene Detect can greatly speed up the process of logging clips. As you capture video, Scene Detect logs a clip wherever there is a break in a tape Time/Date stamp. With Scene Detect, Premiere Pro automatically captures a separate file (Windows) or creates a master clip with a subclip (Mac OS) at each scene break. On Mac OS, Premiere Pro places the subclips in a new bin. Scene Detect works whether you capture an entire tape or just a section between specific In and Out points.
If no audio is recording, try playing a source through the computer’s sound input and speaker system without recording. If you can’t hear it, the audio source may not be connected properly or audio parameters may not be set properly. Check hardware connections, Sounds And Audio Devices in the Windows Control Panel, and mixer settings, and refer to the documentation for your sound card.
Capturing HD video You can capture audio and video from an HD device with an SDI port. Your computer must have a supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD footage from XDCAM SDI sources provided a supported XDCAM capture card is installed, along with its respective driver. Correct installation adds HD presets to the Available Presets pane of the New Sequence dialog box.
Capturing DV or HDV video You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port. You can capture DV or HDV footage from XDCAM or P2 devices. You can capture through SDI ports if your computer has a supported third-party capture card or device installed. Also, your computer must have the respective drivers.
Capturing content for DVD DVD content is compressed according to DVD specifications so that it plays reliably on a wide range of players. When preparing content for a DVD project, pay attention to frame size and frame rate, so that content retains its quality in the transition to DVD. For best results, make sure that you capture or record according to these specifications: Frame size NTSC standard 720x480 or PAL standard 720x576.
Batch capturing and recapturing About logging clips Log clips for batch capturing About batch capturing Choosing batch-capture settings Batch capture clips Troubleshooting batch capturing Import and export batch lists Recapture clips To the top About logging clips You can specify which shots you want to use from source tapes by logging them as a set of offline clips for later capture.
Capture panel with Logging active When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section. Because of the nature of Long GOP formats, inaccuracy in actual media content is possible. Adding handles assures that you have the proper frames needed for editing and, if need be, recapturing. Log clips interactively 1. Make sure that your device is connected and in VTR or VCR (not Camera) mode, and then choose File > Capture. 2.
You must click Log Clip to create a new offline clip. This pauses the tape as you confirm the clip data for the new offline clip. To the top About batch capturing Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device. You can define a batch by selecting a group of clips you have logged. These appear as offline (placeholder) clips in the Project panel or in a bin.
If an offline clip has its own capture settings, its box in this column has a check mark. Change capture settings for an offline clip You can change capture settings for an offline clip. For example, you can capture the clip at a resolution higher than it had when it first was captured or logged. 1. Select the clip in the Project panel, 2. Choose Clip > Capture Settings > Set Capture Settings. The Capture Settings dialog box opens. 3. See Specify capture settings.
You can perform trouble-free batch capturing if device control and the project’s capture settings are set up properly and if the offline clips you logged are consistent and free of conflicting data. If you encounter problems with batch capturing, make sure that all clips you want to batch capture are set up with the proper settings: The Status of each clip must be Offline. Verify the status in the Project panel List view.
4. In the Make Offline dialog box, specify whether the source media files are to remain on disk or be deleted. 5. With the offline clips still selected, choose File > Batch Capture. Adjust the settings as necessary. 6. Verify that the deck and source videotape are set up properly for capture, and then click OK. 7. After recapturing is complete, save the project. You can recapture offline merged clips. The merged clip will not become an online clip until all the component clips are captured.
Managing assets 185
Customizing the Project panel Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel To the top Change Project panel views After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset.
To the top Working in Icon view Video tutorial: Hover Scrub Learn more about the Hover Scrub feature, and how you can scale your thumbnails from very small to large.... Read More by reTooled.net http://www.retooled.net http://www.retooled.net/?p=372 reTooled.net provides tutorials in editorial, design compositing, and innovative tools to maximize standard desktop applications and streamline everyday tasks.
List View Sort: Sorts the icons in the sort order chosen in the List view. For example, if you sorted the clips by "Media duration" in the List view. When you switch to the Icon view, the sort order is retained and the icons are also sorted by media duration. You can sort using commonly used metadata properties like Name, Label, Media Type, and such. You can select the sort order as ascending or descending. For a quick tutorial on how to sort icons in the Icon view, see this video by Josh Weiss of retooled.
Change the width of a column In the List view of the Project panel, position the mouse over a dividing line between column headings. When the Column Resize icon appears, drag horizontally. Sort by a column In the List view of the Project panel, click a column name to switch between ascending and descending sorts based on the content of that column. Add a column 1. Choose Metadata Display from the Project panel menu. 2. Click Add Property. 3. Type a name for the column. 4.
Video Duration The duration of the video component of a clip. To determine video duration, the difference between the video In point and Out point is calculated. Premiere Pro then incorporates any relevant adjustments, such as changes to clip speed. Audio Duration The duration of the audio component of a clip. To determine audio duration, the difference between the audio In point and Out point is calculated. Premiere Pro then incorporates any relevant adjustments, such as changes to clip speed.
Project Panel: Organizing, Automating, and Searching Project Panel: New Items and Templates Project Panel: Preferences and Bin Structures Project Panel: Importing Footage Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Organizing assets in the Project panel Working with bins Adding and deleting bins Change bin behaviors Bin tips Label assets Rename assets Rename a clip Rename an original source file Jump to an asset in the Project panel Find assets in the Project panel Find assets matching criteria Finding clips with Face Detection Identify clips containing faces Find clips containing faces Remove assets from a project Remove an asset from the Project panel Remove unused assets from the Project panel Define a different th
A. Bin in a bin B. List view C. Icon view D. Zoom slider E. Automate to sequence F. Find G. New bin H. New item I. Clear These are the default behaviors of bins in the Project panel. You can change the last three bin default behaviors by editing bin behavior in general preferences. To learn more about working with bins, see the video tutorial, Enhanced Bins In Premiere Pro CS3, on the Creative COW website. Adding and deleting bins To add a bin, click the New Bin button Command+/ (MacOS).
Double-click to open a bin in its own dockable panel. Change bin behaviors While working in a project, you will sometimes want to change the way you view your bins. In standard layout, you can see the hierarchy of your entire project, which is useful. However, sometimes you want to open a bin in its own tab, or open in a new panel. That way, you can focus on the clips in a particular bin, sort clips in storyboard order in icon mode, or search for clips within a bin by typing in the search field.
To assign a label to an asset, select a clip in the Project panel, choose Edit > Label, and choose a color. To select all assets with the same label, select an asset that uses the label and choose Edit > Label > Select Label Group. To edit label names or colors, choose Edit > Preferences > Label Colors (Windows) or Premiere Pro > Preferences > Label Colors (Mac OS). Click a color swatch to edit a color.
To the top Jump to an asset in the Project panel 1. Select the Project panel. 2. Type the first letter of the name of the desired clip. To the top Find assets in the Project panel 1. In the Project panel, select one of these options from the In menu: All Searches all metadata. Visible Searches only the metadata fields visible in the Project panel. Text Transcript Searches only the Speech To Text metadata field. 2. Do one of the following: Place the cursor in the Find box in the Project panel.
Select the Project panel, and press Ctrl + F (Windows), or Command + F (Mac OS). 2. In the Find dialog box, select the name of the columns to search from the menus under Column. 3. Select the appropriate operators from the menus under Operator. 4. Type in the characters you want to find in the specified columns in their respective Find What fields. 5. If you’re searching for two criteria simultaneously, do one of the following: To find assets that match both criteria, select All from the Match menu.
1. Do one of the following: Click the magnifying glass in the Find box and choose Find Faces, Choose Edit > Find Faces. The Project panel displays only clips containing faces. All bins remain visible in this filtered view to allow you to drag clips to them. 2. To clear the filter, click the X on the right side of the Find box. The Project panel displays all clips.
To the top Edit cells in the Project panel You can edit the data in the editable cells, whether for clip properties or XMP metadata, for any clip in the Project panel. Premiere Pro stores data written to XMP metadata cells in the source files. However, it stores data written to clip properties cells in the project file, not into the source files. Clip properties data do not travel with the source files, and they are readable only by Premiere Pro.
Open. You can also view clip properties in the Source Monitor, Timeline panel, or Project panel by right-clicking (Windows) or Control-clicking (Mac OS) a clip and choosing Properties. To the top Viewing field order for clips You can determine the field order for a clip in the Preview Area of the Project panel. In the Preview Area, and next to the clip, you can view information about the clip. Next to the timecode information, the field order is listed.
Monitor Overlays New in Premiere Pro CC October 2013 release (version 7.1) Monitor Overlays display important metadata information superimposed on the Source Monitor and Program Monitor. You can view information like source timecode information, marker comments, and edit point indicators on the monitor in context with the clip or sequence. Monitor Overlays are easily customizable letting you select and control which metadata is displayed and where.
Alignment of the selected metadata fields matches the overlays placement on the monitor The overlays are displayed in the following four quadrants on the monitors: Left, Right, Top Middle and Bottom Middle. The quadrants scale with the sizing of the monitor. While the quadrants can change in absolute size, their placement and relative size is constant. In the default layout preset, the overlays are displayed to visually match the correct clip in a stack of clips in the sequence.
End Of Media Indicators When the playhead goes past the last frame of media on the Timeline and there is no clip after that, a black frame appears along the right edge of the last frame of a clip or sequence. Edit Point Indicators Indicate the edit points for sequences, and are turned on by default. When the playhead is on the In or Out point of a clip, a yellow-colored angular bracket appears at the bottom edge of the clip frame.
Camera Name and Source Timecode displayed as overlays in Multi-Camera view To the top Import, export, and create overlay presets You can save your customized overlay settings as overlay presets. Overlay presets let you quickly switch to different layouts or metadata content. Create and save an overlay preset In the Overlay Settings dialog, specify the settings that you want, and click the Save Preset icon . Enter a name to save and apply the preset.
Managing metadata About the Metadata panel and XMP About the Metadata panel in Premiere Pro About file, clip, and project XMP metadata Using clip metadata and file metadata Edit XMP metadata Search XMP metadata Show or hide XMP metadata View clip data in the Metadata panel Link clip data to XMP metadata To the top About the Metadata panel and XMP To streamline your workflow and organize your files, use XMP metadata. Metadata is a set of descriptive information about a file.
The Metadata panel shows both clip-instance metadata and XMP file metadata for a selected asset. Fields under the Clip heading show clipinstance metadata: information about a clip selected in the Project panel, or in a sequence. Clip instance metadata is stored in the Premiere Pro project file, not in the file to which the clip points. Only Premiere Pro reads clip instance metadata not, other applications. However, in Premiere Pro you can link some clip metadata fields with XMP metadata fields.
Use the XMP metadata fields to store data that applies to the source file, and all clip instances that point to it. Use the clip metadata fields to store data specific to each unique clip. Link clip metadata fields to XMP metadata fields when you want clip metadata copied to the source file. Do not link a clip metadata field to an XMP metadata field for more than one clip pointing to the same source file, however.
To the top Show or hide XMP metadata To optimize the Metadata panel for your workflow, show or hide entire schemas or individual properties, displaying only those that you need. 1. From the options menu for the Metadata panel, select Metadata Display. 2. To show or hide schemas or properties, select or deselect them from the list. Save, switch, or delete metadata sets If you use multiple workflows, each requiring different sets of displayed metadata, you can save sets and switch between them. 1.
View clip data in the Metadata panel You can show or hide clip information in the Metadata panel like any other metadata. Premiere Pro saves clip information in the schema named Premiere Project Metadata. For more information about showing or hiding metadata schemas, see Show or hide XMP metadata. 1. Do one of the following, if necessary: If the Metadata panel is not open, select Window > Metadata.
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Working with markers Markers Markers panel Add markers in the Timeline Add markers to clips Find, move, and delete markers Display marker comments Sharing markers with After Effects, Encore, and Flash To the top Markers Markers indicate important points in time and help you position and arrange clips. You can use a marker to identify an important action or sound in a sequence or clip. Markers are for reference only and do not alter the video.
A. Comment marker B. Flash point marker C. Chapter marker D. Web link marker Markers on the Marker and Timeline panels A. Comment marker B. Flash cue point marker C. Encore chapter marker D. Web link marker E. Movie sequence F. Movie clip G. Markers on the Timeline To the top Markers panel Use the Marker panel (Window > Markers) to see all the markers in an open clip or sequence. Details associated with clips such as color-coded tags, In points, Out points, and comments are displayed.
4. Set any of the following options: Name Type a name for the marker. Duration Drag the duration value or click the value to highlight it, type a new value, and press Enter/Return. When using markers for URL links and chapter markers, you can set sequence markers to be longer than one frame in duration. Set sequence markers longer than one frame in duration, for example, when setting markers in Premiere Pro that you want to convert to cue points in FLV files.
1. Open the clip in the Source Monitor from the Timeline or the Project panel. 2. Place the Playhead where you want to place the marker. 3. Choose Marker > Add Marker, or press M. The marker is added to the clip. To add a marker to a clip in the Timeline, do the following: 1. Set up a keyboard shortcut for "Add Clip Marker" in Edit > Keyboard Shortcuts (Windows), or Premiere Pro > Keyboard Shortcuts (Mac OS). 2. Select the clip. 3. Place the Playhead where you want to place the marker. 4.
To set a sequence marker, select the Program Monitor or Timeline panel. 2. Move the current-time indicator to where you want to set the marker. 3. Choose Marker > Set Clip Marker or Marker > Set Sequence Marker, and choose an option in the submenu: Next Available Numbered Sets a numbered marker using the lowest unused number. Other Numbered Opens a dialog box in which you can specify any unused number from 0 to 99.
To cue the playhead to a sequence marker, select the Program Monitor or Timeline panel, choose Marker > Go To Sequence Marker > [marker]. Move a marker Do one of the following: To move a clip marker in a clip that’s in a sequence, open the clip in the Source Monitor and drag the Marker icon Monitor’s time ruler. (You can’t manipulate clip markers in the Timeline panel). in the Source To move a sequence marker, drag the marker in a Timeline panel or the Program Monitor’s time ruler.
Timecode start (always displayed) Duration (optional, shown only if the marker has a duration) Comment text (optional, shown only if entered) Note: When the Show Audio Time Units option is selected, the tool tips show marker location and duration in audio time units instead of timecode units. To the top Sharing markers with After Effects, Encore, and Flash You can share markers between Premiere Pro, Adobe Encore, and Adobe Flash in any of the following ways.
Working with aspect ratios About aspect ratios Using assets with various aspect ratios Fix aspect ratio distortion Correct individual aspect ratio misinterpretations Correct recurring aspect ratio misinterpretations Common pixel aspect ratios To the top About aspect ratios An aspect ratio specifies the ratio of width to height. Video and still picture frames have a frame aspect ratio, and the pixels that make up the frame have a pixel aspect ratio (sometimes referred to as PAR).
NTSC displays A. 16:9 NTSC footage B. DVD player display using original widescreen format on widescreen TV screen C. 16:9 image on a 4:3 TV screen cropped using automatic pan and scan D. 16:9 image on a 4:3 TV screen using automatic letterboxing to reduce overall frame size and display entire image Pixel aspect ratio For a video that explains the basics of pixel aspect ratios, see the Adobe web site. Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame.
To the top Using assets with various aspect ratios Premiere Pro automatically attempts to preserve the frame aspect ratio of imported assets, sometimes changing the pixel aspect ratio, the frame dimensions, or both so that the asset does not appear cropped or distorted when used in a sequence. Some assets contain metadata that allows Premiere Pro to make the calculations automatically and precisely. For assets lacking this metadata, Premiere Pro applies a set of rules to interpret pixel aspect ratio.
1. Open a text editor. 2. From within the text editor, go to the Premiere Pro Plug-ins folder. 3. Open the file named Interpretation Rules.txt. 4. Edit the rule that you want to modify, and choose Save. To the top Common pixel aspect ratios Pixel aspect ratio When to use Square pixels 1.0 Footage has a 640x480 or 648x486 frame size, is 1920x1080 HD (not HDV or DVCPRO HD), is 1280x720 HD or HDV, or was exported from an application that doesn’t support nonsquare pixels.
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Monitoring assets 223
Using the Source Monitor and Program Monitor Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor Using the Source Monitor and Program Monitor time controls View safe zones in the monitors Choose fields in the Source and Program Monitors Choose a display mode To the top Source Monitor and Program Monitor overview The Source Monitor plays back individual clips.
The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain. Customizing the monitor panel button bar By default, the most useful buttons are displayed along the bottom of the Source and Program Monitors. However, you can add more.
1. Do one of the following: Right click the image in the Source Monitor or Program Monitor. Click the Panel Menu icon in the Source Monitor or Program Monitor. Click the Settings button in the Source Monitor or Program Monitor. 2. Do one of the following: To set playback resolution, select Playback Resolution. To set paused resolution, select Paused Resolution. 3. From the menu, select the resolution desired.
1. To open a clip, do any of the following: Double-click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor. The clip appears in the Source Monitor and its name is added to the Source menu. Drag multiple clips or an entire bin from the Project panel into the Source Monitor, or select multiple clips in the Project panel and double-click them.
3. Set keyboard shortcuts for any of the following commands: Source Clip: Close Source Clip: Close All Source Clip: First Source Clip: Last Source Clip: Next Source Clip: Previous 4. Click OK. To the top Using the Source Monitor and Program Monitor time controls The Source Monitor has several controls for moving through time (or frames) in a clip. The Program Monitor contains similar controls for moving through a sequence. A. Current time display B. Playhead C. Zoom scroll bar D. Time Ruler E.
Note: Changing the Program Monitor’s time ruler or zoom scroll bar does not affect the time ruler or viewing area in a Timeline panel. Viewing Source and Program Monitor controls You can show or hide controls from the panel menus of the Source and Program Monitors. For example, you may wish to hide transport controls if you know the J-K-L keyboard shortcuts for playback to gain more space to view your media.
2. Select Display First Field, Display Second Field, or Display Both Fields according to your need. To the top Choose a display mode You can display normal video, the video’s alpha channel, or one of several measurement tools. In the Source Monitor or Program Monitor, click the Settings button, or click the panel menu and choose a display mode setting: Composite Video Displays the normal video. Alpha Displays transparency as a grayscale image.
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Using the Waveform monitors and vectorscope View a scope Vectorscope YC Waveform YCbCr Parade RGB Parade Premiere Pro has a vectorscope and waveform monitors (YC Waveform, YCbCr Parade, and RGB Parade) to help you output a video program that meets broadcast standards and also assist you in making adjustments based on aesthetic considerations, such as color corrections.
RGB Parade Displays a scope showing the red, green, and blue components in the video. Vect/YC Wave/YCbCr Parade Displays the Vectorscope, YC Waveform, and YCbCr Parade scope in one monitor. Vect/YC Wave/RGB Parade Displays the Vectorscope, YC Waveform, and RGB Parade scope in one monitor. To the top Vectorscope The Vectorscope displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Saturation is measured from the center of the chart outward.
YC Waveform with the chroma control enabled A. IRE units B. Luminance (green) waveform C. Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Intensity Adjusts the brightness of the waveform display. It does not affect the video output signal. Setup (7.5 IRE) Displays a waveform that approximates the final analog video output signal. Deselecting this option displays the digital video information.
RGB Parade scope A. Values B. R waveform C. G waveform D. B waveform E. Range of signal components Adobe also recommends Vectorscope on Premiere Pro Wikia Reading a waveform monitor Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Using the Reference Monitor Open a Reference Monitor Gang the Reference Monitor and Program Monitor The Reference Monitor acts like a secondary Program Monitor. You can use a Reference Monitor to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes. You can cue the frame of a sequence displayed in the Reference Monitor independently from the Program Monitor.
In the Program Monitor’s panel menu, choose Gang To Reference Monitor. Both Monitors show the same frame. Moving the playhead playheads in the other two to the same frame. in either the Reference Monitor, the Program Monitor, or the Timeline will move the Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Playing assets Play video in the Source Monitor and Program Monitor Continuous Playback Play a sequence or clip with preroll and postroll pauses Jog or shuttle playback Move to a different frame in the Source Monitor and Program Monitor Using the J, K, and L keys to shuttle video Match a frame with its source To the top Play video in the Source Monitor and Program Monitor The Source Monitor and Program Monitor contain several controls that resemble the playback controls on a video deck.
To the top Continuous Playback Playback continues unless the user specifically issues a Stop command. This feature supports real-time adjustment of common editing actions. For example, you could adjust video effects while you are playing back in a loop.
To the top Move to a different frame in the Source Monitor and Program Monitor Do any of the following: To advance one frame, click the Step Forward button , or hold down the K key and tap the L key, or press the Right Arrow key. To advance five frames, Shift-click the Step Forward button To jump back one frame, click the Step Back button , or press Shift+ the Right Arrow key. , or hold down the K key and tap the J key, or press the Left Arrow key.
While editing in a Timeline panel, you can find the source frame for any frame in a sequence clip and display it in the Source Monitor. Also, you can find the source frame for any frame in a nested sequence, display it in the Source Monitor, and jump to its location in the source sequence. 1. Click the header of the track where the sequence clip is located, to target the track. If more than one track is targeted, Premiere Pro will match the frame in the highest targeted track. 2.
Editing sequences and clips 242
Relinking offline media New in Premiere Pro CC Locating and linking offline files Relink offline media automatically Manually locate and relink offline media When an imported clip is moved, renamed, or deleted outside Premiere Pro, the clip becomes an offline clip.
When you open a project with missing media files, the Link Media dialog box gives you visibility into files that have broken links and helps you locate and link your files quickly. The Link Media dialog box displays the clip name used in the project, as well as the linked filename of the media. The Link Media dialog box also displays the complete path of folders that stored the offline media.
To the top Manually locate and relink offline media You can manually find and reconnect the media that Premiere Pro is unable to automatically relink. To do so, in the Link Media dialog box, click the Locate button. The Locate File dialog opens with the closest existing directory showing up to three levels. If no exact match is found, the directory is displayed considering where the file should have been, or the same directory location as the previous session.
Trimming clips Working with In and Out points Working with audio clips in the Source Monitor View audio waveforms Scrub the audio waveform in the Source Monitor Zoom in or out on an audio waveform in the Source Monitor Working with clips in the Source Monitor Open a clip in the Source Monitor Open and view recent clips from the Source Monitor Set In points and Out points in the Source Monitor Move In point and Out point together Adjusting edit points in the Source Monitor Cue to an In point or Out point Cue
allow you to trim an edit point. These tools and techniques allow you to trim more easily and accurately, reducing the number of steps involved and maintaining the integrity of the sequence. You can perform trimming tasks to selected edit points of a clip, or selected edit points from multiple clips. There are new icons for the tools, and when selecting edits with trim tools, the edit point is highlighted with a color related to the trim you perform.
To zoom in on all channels simultaneously, Shift-drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor. The waveform of one or all channels, and the decibel ruler, will expand or contract vertically. In Apple MacBook Pro computers, you can move two fingers on the trackpad vertically or horizontally on the zoom scroll bar to zoom in and zoom out on audio waveforms.
To mark an Out point, drag the playhead to the frame you want. Then click the Mark Out Point button , or press the O key. After you mark In and Out points, you can always change your mind before you edit the clip into the sequence. Drag the In or Out points to a new position in the time ruler. You can also drag the playhead to a new frame and use the Mark In or Mark Out buttons to set new In or Out points.
4. Drag the In/Out Grip (textured area at the center of the shaded span between the In and Out points), as you did in the section, Move In point and Out point together. Cue to an In point or Out point You use the Source Monitor to cue a frame for a clip and the Program Monitor to cue the current frame for a sequence. Do one of the following: To cue the current time to an In point, click the Go To In Point button . To cue the current time to an Out point, click the Go To Out Point button .
http://www.retooled.net reTooled.net provides tutorials in editorial, design compositing, and innovative tools to maximize standard desktop applications and streamline everyday tasks. Contribute your expertise to Adobe Community Help This video tutorial by Todd Kopriva and video2brain shows you how to edit quickly and precisely with the keyboard, including the new trim mode, dynamic trimming commands, and J-K-L trimming commands. Learn how to apply these techniques to your work in this video.
Using modifier keys with trim tools Use the Alt (Windows) or Option (Mac OS) modifier key to override normal linked only select the edit point that is clicked. This technique is useful for setting up a split edit (L or J-cut). Use the Shift modifier key to add or remove other edit points to the current selection. You can combine both the Alt (Windows) or Option (Mac OS) key and Shift to ignore linked clip selection while adding or removing other edit points from the current selection.
There are keyboard shortcuts for selecting edit points that use the playhead position and track targets. Note: Unlike selecting with the mouse, edit points on linked clips are not automatically selected unless the associated tracks are also targeted.
on. There is also an existing keyboard shortcut to toggle snapping on or off that can be used during dragging. Trim with keyboard shortcuts The following keyboard shortcuts perform a trim whenever there is an active edit point selection, even if you are not in trim mode. If the full amount of the trim cannot be performed, the allowable amount is used and a tool tip indicates that the trim is blocked or limited by media or minimum duration.
Trimming a clip Trimming in this way affects only a single clip's edit point and doesn’t affect adjacent clips. As you trim with the Selection tool, a gap in the Timeline is left behind. To trim multiple edit points at once or to shift adjacent clips, see Making ripple and rolling edits in the Timeline and Make slip and slide edits. Press Ctrl (Windows) or Command (Mac OS) using the Selection tool to switch to the Ripple Edit tool.
Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This action effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence. Pressing Alt (Windows) or Option (Mac OS) when you begin to perform a rolling edit overrides video and audio linking, allowing you to create a split edit (L-cut or J-cut).
1. Click a track header to target the track containing the clip you want to trim. 2. Drag the playhead to the location in the sequence to which you want to extend the clip In point or Out point. 3. Click the Rolling Edit tool, and then select the edit point. 4. Choose Sequence > Extend Selected Edit to Playhead, or press E. Note: If there is not enough media to extend to the playhead, Premiere Pro extends the clip to the end of the available media. Make a ripple edit using the Ripple Edit tool 1.
A slip edit shifts a clip’s In and Out points forward or backward by the same number of frames in a single action. By dragging with the Slip tool, you can change a clip’s starting and ending frames without changing its duration or affecting adjacent clips. In this slip edit, a clip is dragged left, moving its source In and Out points later in time. 1. Select the Slip tool . 2.
In this slide edit, a clip is dragged left so that it starts earlier in the sequence, shortening the preceding clip and lengthening the following clip. 1. Select the Slide tool . 2. Position the pointer on the clip you want to adjust, and drag left to move the Out point of the preceding clip and the In point of the following clip earlier in time, or drag right to move the Out point of the preceding clip and the In point of the following clip later in time.
Press Alt+Right (Windows). Press Command+Right (Mac OS). For more information about nudging clips with keyboard shortcuts, see this video by Todd Kopriva and video2brain. Making split edits You can create a split edit by unlinking the video from the audio in adjoining clips in a sequence, and then trimming audio separately from video so that the video of one overlaps the audio of the other. Typically, a rolling edit (or extend edit) is used for this task.
Entering trim mode Prior to entering trim mode, a good strategy is to select one or more edit points with a trim tool in the Timeline. These selected edits remain intact once you enter trim mode. You can also enter trim mode without selecting edits ahead of time. To enter trim mode, do one of the following: Choose Sequence > Trim Edit (or press the T key). If there is an active edit point selection, the playhead moves to the nearest selected edit point.
Program Monitor on the next loop. Continue to adjust and review the edit until you are satisfied with the trim. Move on to trimming the next edit point by using the Go to Next Edit Point or Go to Previous Edit Point shortcuts (the Up Arrow, and Down Arrow keys), or stop playback, if you have finished. Use the following techniques to refine your trim: Use the Trim Forward and Trim Backward buttons to trim by one frame at a time.
Trimming and the History panel The History panel shows each trim adjustment as an individual entry, whether using the keyboard, clicking one of the buttons or using J-K-L shortcuts. Entering or exiting trim mode does not change the entries in the History panel, so you can still undo one or more of the trim adjustments that were made during any trim mode session.
frames. Combinations of Trim In and Trim Out trims are not considered asymmetrical even if the side of the edit point differs, since the movement of the edit point is always in the same direction and there is no shifting of trailing clips. Specifying Primary Direction for Asymmetrical Trims in the Timeline For asymmetrical trims using the mouse in the Timeline, the primary direction is applied to the edit point that is dragged.
Choose Edit > Preferences > Trim (Windows) or Premiere Pro > Preferences > Trim (Mac OS). Make a rolling edit using the Trim Monitor 1. In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. 2. Click in the Sync Lock box in the header of any track you want to shift when the rolling edit is made. 3. In a Timeline, place the playhead at the edit point. This will display the edit point in the Trim Monitor. 4.
Drag the left or right jog disk to trim the corresponding clip. Drag the Outgoing Out Point icon in the left view’s time ruler, or drag the Incoming In Point icon in the right view’s time ruler. Drag the Out Shift or In Shift timecode number left or right to ripple-edit the corresponding clip.
Source patching and track targeting New in Premiere Pro CC Adobe® Premiere® Pro lets you use source patcher presets to control insert and overwrite operations on your clips. This feature simplifies the edit workflow, without taking away your ability to overwrite an empty gap. Premiere Pro decouples source indicators from target tracks. Premiere Pro uses Source track indicators for the Insert and Overwrite operations.
Multi-Camera editing workflow Enhanced in Premiere Pro CC October 2013 release (version 7.
4. Create a multi-camera target sequence Edit the multi-camera source sequence in a target sequence. To create a target sequence, with the multi-camera source sequence selected in the Project panel, select File > New > Sequence From Clip. You can also right-click (Win) or Ctrl-click (Mac) on the multi-camera source sequence and select New Sequence From Clip from the context menu. Premiere Pro creates a new multi-camera target sequence, and opens it in the Program Monitor and Timeline panel. 5.
You can use keyboard shortcuts for multi-camera editing. You can use the number keys to switch cameras as the multi-camera sequence plays. The keyboard shortcuts can also be used to change angles after completing a multi-camera edit. For more information, see Multi-camera keyboard shortcuts. 9. Export the multi-camera sequence With the sequence active in the Program Monitor or Timeline panel, select File > Export > Media.
Camera 1 clip. In most scenarios, the Automatic preset is the appropriate setting. For advanced workflows, like editing a sequence using proxy resolution clips, you can choose a specific sequence preset. You can then use a higher resolution/frame size clips for the final edit. Offset audio and moving source clips If a separately recorded audio track is out of sync with the video clip, you can add a frame offset using the Offset Audio by option.
addition to the default option of enumerated camera names like camera 1, camera 2. Depending on the Camera Names option that you select, the camera angles are displayed as track names, clip names, or camera numbers in the Source Monitor. To view the multi-camera sequence in the Source monitor, right-click the sequence and select Multi-camera.
Multiclips sequences appear as multi-camera sequences with all the Final Cut Pro project settings intact. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Edit from sequences loaded into the Source monitor New in Premiere Pro CC Adobe® Premiere® Pro lets you load sequences into the Source monitor, and edit them in the Timeline panel keeping the original source clips on all tracks intact. This way, the sequence doesn't become a single nested sequence clip. You can now use segments of other sequences containing individual source clips, edit points, transitions, and effects, much like copy/paste.
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Closed Captioning Enhanced in Premiere Pro CC October 2013 release (version 7.
Displaying closed captions in the Source Monitor and Program Monitor You can select the captioning standard for a caption clip loaded in the Source Monitor. In the Source Monitor panel pop-up menu, select Closed Captioning Display > Settings. For example, you can select CEA-608, CEA-708, CC1, CC2, and so on. You can toggle the Closed Caption display on and off. The Closed Caption clip when linked to video behaves similar to a linked audio channel clip.
A. Filter caption content B. Formatting toolbar C. Editable text blocks Example usage scenario Consider a scenario where you have a program that already contains closed captions. You may need to create a different version of the program, say with a shorter duration, to add more commercials. In such a scenario, you can make the necessary edits using the Captions tab. The text clips are visible from the timeline.
is chosen based on the known frame rate of the sequence that you are exporting. Click Export to export the closed caption file. Export Setting for Closed Captions Alternatively, you can also click Queue to send the sequence into the Adobe Media Encoder queue. With QuickTime exports, you have the option of embedding captions in the video file or exporting them to a sidecar file. With all other export formats, you can export captions only as a separate sidecar file.
Supported caption formats Premiere Pro supports reading and writing captions for MXF OP1a files. The captions are read from and written to the SMPTE 436M ancillary data track in the MXF OP1a file. Premiere Pro supports importing and exporting CEA-708 captions. CEA-708 closed caption files can be exported as a Sidecar file with a .mcc or .xml filename format. Or you can embed the CEA-708 captions within the SMPTE 436M ancillary data track in MXF OP1a files.
Synchronizing audio and video with Merge Clips Merge clips in the Project panel Merge clips in the Timeline panel Synchronize clips in the Timeline panel Editing with merged clips Merged clips and the Metadata panel Use timecode from an audio master clip to create a merged clip Merged Clips limitations Premiere Pro provides a method for synchronizing audio and video called Merge Clips.
Choose Clip > Merge Clips. The Merge Clips dialog launches. 2. Click OK. Your merged clip will now appear in the Project panel. Note: Clips that are merged in the Timeline are synchronized from Clip Start for each component clip. To merge clips based on Clip End, Timecode, or Numbered Marker, use the synchronize function prior to merging the clips. To the top Synchronize clips in the Timeline panel Synchronizing clips aligns multiple clips in the Timeline panel.
component clips. To the top Merged clips and the Metadata panel When a merged clip is created, the metadata for each of the component clips is copied into the Metadata panel. There are some differences for displaying metadata for a merged clip. They are as follows: Viewing metadata You can view the metadata a single component clip. To view the metadata for a component clip, choose the clip name from the File popup menu. Its metadata will appear in the metadata panel.
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Rendering and previewing sequences Define the work area for rendering Define the area for rendering using In and Out points Render a preview file for a section of a sequence Render audio when rendering video Work with preview files Play a sequence from start to finish Scroll a sequence during preview Previewing on a television monitor Ensure that Adobe video applications use the same cached files Premiere Pro attempts to play back any sequence in real time and at full frame rate.
Define the area for rendering using In and Out points You can mark In and Out points to define an area for rendering: Mark In and Out points for the area of the sequence that you plan to render. When marking In and Out points to define an area for rendering, corresponding options appear in the Sequence menu: Render Effects In to Out, and Render In to Out. A command for Delete Render Files In to Out is also available. These options will not appear in the Sequence menu if the work area bar is enabled.
To the top Work with preview files When you render previews, Premiere Pro creates files on your hard disk. These preview files contain the results of any effects that Premiere Pro processed during a preview. If you preview the same work area more than once without making any changes, Premiere Pro instantly plays back the preview files instead of processing the sequence again. Premiere Pro stores the preview files in a folder you can specify.
No Scroll Sequence doesn’t scroll. Page Scroll Sequence scrolls through the visible area of a Timeline panel a page at a time. This is the option set by default. Smooth Scroll playhead stays in the center of the visible area while the sequence scrolls under it. To the top Previewing on a television monitor You can display the sequence on any monitor connected to your computer. Previewing on a television monitor requires video hardware that provides an appropriate video port for the monitor.
application on your desktop. 24p Conversion Method Specifies the conversion method for 24p footage. See Set 24p playback options. There can be a slight delay between the playback on the desktop and the playback on a television via a camcorder/VCR. If the video and audio seem out of sync, try to preview both video and audio through the same device.
Remove alerts with the Events panel Premiere Pro Events lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug-ins and other components from third-party developers. An alert icon , , on the status bar notifies you of an error. Double-clicking the icon opens the Events panel, and clearing the associated item from the Events panel removes the icon from the status bar. 1.
Rearranging clips in a sequence Move clips Split or cut one or more clips with the Razor tool Lift and paste frames Extract and paste frames Delete clips and close gaps simultaneously Delete gaps between clips Find gaps in sequences and tracks Copy and paste at the playhead Copy and paste clips by dragging in the Timeline Delete all clips on one track To the top Move clips You can place clips in playback order to create a sequence in a Timeline panel.
To insert, drag one or more clips, and press Ctrl (Windows) or Command (Mac OS) as you release the mouse button and drop the clip or clips into a new location. Clips in all tracks to the right of the drop point shift to the right of the inserted clips. A gap remains in the track from which you move the inserted clips. Move clips using the keypad You can change the position of a clip in a sequence by typing the number of frames that you want to move. 1. Select the clip in the sequence. 2.
that shifts clips in the destination tracks only. To the top Split or cut one or more clips with the Razor tool You can use the Razor tool to cut a clip into two clips, or to cut across clips in several tracks at once. Splitting a clip creates a new and separate instance of the original clip, and any linked clips. The resulting clips are full versions of the original clip, but with different In and Out points.
To the top Extract and paste frames You can extract frames from a specified area of one or more tracks in a sequence, leaving no gap in their place. You specify the area with a sequence In Point and Out point. If only part of a clip appears between the sequence In point and Out point, Premiere Pro will extract only that part of the clip from the sequence, letting the rest of the clip remain. After extracting, you can paste the extracted frames anywhere in a sequence. 1.
To delete gaps between multiple clips, see this video tutorial by Ann Bens. To the top Find gaps in sequences and tracks You can find gaps of at least one frame in a sequence or a particular track of a sequence. Choose Sequence > Go To Gap and then choose one of the following options: Next in Sequence Finds the next gap to the right of the CTI that spans all tracks. Previous in Sequence Finds the next gap to the left of the CTI that spans all tracks.
Copy and paste clips by dragging in the Timeline You can copy and paste clips by dragging them and holding down a modifier key to a different place in the Timeline. To copy and paste clips to a new place in the Timeline, do the following: 1. Press the Alt (Windows), or Option (Mac OS) key. 2. Select one or more clips in the sequence, and then drag them to a new location in the Timeline. You can drag them horizontally or vertically. After dropping the clips in a new location, they are duplicated.
Working with offline clips Create an offline clip Edit an offline clip Relink an offline clip Convert an online clip to an offline clip An offline clip is either a clip that has been unlinked from its source file, or a logged clip that you still have to capture. Offline clips contain information about the source files they represent, and they give you flexibility when actual files are not available.
Note: To be eligible for capture, an offline clip must contain at least a tape name, filename, and Media Start and Media End settings. It is not possible to create an offline merged clip from scratch. To the top Edit an offline clip You can edit an offline clip. You can give it new start and end points, tape name and filename, and a new audio format. You can specify whether it contains audio only, video only, or audio and video.
To delete the audio track from all instances of the offline clip from the project click OK. To cancel linking to the source file, and retain the audio track in all instances of the offline clip, click Cancel. In the Project panel, you can choose Clip>Make Offline for any merged clip. When making any merged clip offline, all component clips will also be become offline. However, you can use the Relink command to link to the desired tracks, while leaving others offline.
Modifying clip properties with Interpret Footage javax.jcr.AccessDeniedException: /content/help/en/premierepro/using/modifying-clip-properties-interpretfootage/jcr:content/jcr:title: not allowed to add or modify item Interpret footage You can modify the properties of a clip by selecting options in the Interpret Footage dialog box. For more information about using the Frame Rate options, see Change the frame rate of a clip.
Creating and changing sequences Timeline panels Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Change sequence preview resolution settings Create a widescreen sequence Create an HDV or HD sequence Create a sequence with uncompressed video playback Create a sequence for RED camera footage 24p sequences Start a mobile device sequence Using multiple sequences Nest sequences Attach closed caption files In Premiere Pro, you sp
Open additional Timeline panels You can open more than one Timeline panel if you have more than one sequence in a project. 1. Open more than one sequence. For more information about opening sequences see Open a sequence. Each will appear in its own tab in the default Timeline panel. 2. Drag a sequence tab and drop it into another docking area. The sequence tab appears in a new Timeline panel. Open a sequence in a Timeline panel You can open one or more sequences in a Timeline panel.
The work area bar is not visible by default. To return the work area bar to the Timeline, enable it from the panel menu by selecting Work Area Bar. When the work area bar is enabled, commands for Render Effects in Work Area, and Render Entire Work Area are available in the Sequence menu. You can now use In and Out points for most things the Work Area does, so you can keep it hidden and use In and Out points for rendering an area of the Timeline, or for marking an area to export for encoding.
Zoom into or out of a sequence in a Timeline panel Do one of the following: With the Timeline panel active, to zoom in, press +. To zoom out, press -. , and then click or drag a marquee selection around the part of the sequence you want to see in To zoom in, select the Zoom tool , and then Alt-click (Windows) or Option-click (Mac OS) an area in a Timeline panel. more detail. To zoom out, select the Zoom tool Use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together.
in the track but does not affect source clips listed in the Project panel. Note: You can add any number of tracks, limited only by your system’s resources. 1. With a Timeline panel active, choose Sequence > Add Tracks. 2. In the Add Tracks dialog box, do any of the following: To add tracks, type, or drag the hot text to, the number of tracks you want to add in the Add field for video, audio, and audio submix tracks.
affected by the edit. To enable Sync Lock for all tracks of a particular type, video or audio, Shift-click the Toggle Sync Lock box at the head of any track of that type. The Sync Lock icon will appear in the box, and Sync Lock will be enabled for those tracks. Note: To disable Sync Lock on one or more tracks, click, or Shift-click for all tracks of a type, the Toggle Sync Lock box again so that it contains no Sync Lock icon.
2. To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon drag up or down to resize the track below (for video) or the track above (for audio). appears, and then Collapsed tracks always appear at the same height and cannot be resized. You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track. Set the display style of the video track 1.
2. Click the Set Display Style button , and choose an option from the menu: Show Waveform Displays audio waveforms in clips. Show Name Only Displays the name of audio clips without waveforms. Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs. Resize the track header section Position the pointer over the right edge of the track header (where track names are listed) so that the resize icon the right edge.
2. On the Sequence Presets tab, select a preset from the Available Presets list. 3. Type the name of the sequence, and then click OK. You can create a new sequence from a selected clip by one of the following methods: Drag and drop a clip onto the New Item button. Choose File > New > Sequence from Clip. Note: When a merged clip is used to create a new Sequence from Clip, there may be empty stereo audio tracks, depending on the media format. You may delete these empty stereo audio tracks, if you wish.
Robbie Carman explains how to customize sequence settings to speed up renders in this video tutorial. “FAQ: How do I choose the right sequence settings?” Sequence Presets options Available Presets are groups of sequence settings. Premiere Pro comes with several categories of sequence settings presets installed: AVC-Intra, AVCHD, Digital SLR, DV-24p, DV-NTSC (North American standard), DV-PAL (European standard), DVCPRO50, DVCPROHD, HDV, Mobile & Devices, XDCAM EX, XDCAM HD422, and XDCAM HD.
Display Format (Video) Premiere Pro can display any of several formats of timecode. You can display the project timecode in a film format, for example, if you are editing footage captured from film. You can display timecode in simple frame numbers if your assets came from an animation program. Changing the Display Format option does not alter the frame rate of clips or sequences—it changes only how their timecodes are displayed.
Width Specifies the frame width of video previews, constrained by the pixel aspect ratio of the original media. Height Specifies the frame height of video previews, constrained by the pixel aspect ratio of the original media. Reset Clears existing previews and specifies full size for all following previews. Maximum Bit Depth Maximizes the color bit depth, up to 32 bpc, to include in video played back in sequences.
time base (for example, 29.97 fps, or 23.976 fps) fields (for example, progressive or interlaced) audio sample rate (for example, 32 Hz, or 48 Hz) video codec audio codec You can use the Properties panel to discover many of these parameters for your assets. See Viewing clip properties. Alternatively, you can use a third-party application, such as the freeware, MediaInfo, or GSpot Codec Information Appliance.
You can choose the video preview format and resolution in the Sequence Settings dialog box. Choose a resolution lower than the sequence frame size to play back previews in real time that the computer cannot play back at full frame size. During editing, Premiere Pro renders all previews at the specified preview size and scales them to the frame size of the sequence. 1. Select the sequence for which you want to change preview settings. Then, select Sequence > Sequence Settings. 2.
Mono Outputs a single mono channel. Stereo Outputs two mono channels with stereo panning intact. 5.1 Outputs four mono channels respecting the Left-Front, Right-Front, Left-Rear, and Right-Rear panning. 4. Enter a location and name for the project file and click OK. Note: In Windows, you can create a custom project preset for previewing uncompressed 10-bit or uncompressed 8-bit footage. For more information, see Create a sequence with uncompressed video playback in Premiere Pro Help.
10. Enter a name for the sequence and click OK. To the top Create a sequence for RED camera footage 1. Select File > New > Sequence. 2. On the Sequence Presets panel of the New Sequence dialog box, select a RED R3D preset that matches your footage. 3. Enter a name in the Sequence Name field and click OK. To the top 24p sequences About 24p footage and sequences Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage.
When you apply 3:2 pulldown to footage, one frame of the film (A) is separated into two or three interlaced video fields (B) which are grouped into video frames containing two fields each. It’s important to remove 3:2 pulldown from video footage that was originally film, so that effects you add synchronize perfectly with the original frame rate of film. Removing 3:2 pulldown reduces the frame rate by 1/5: from 30 to 24 fps or from 29.97 to 23.976 fps.
Disable 24p pulldown to simulate film-video transfer By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation. 1. Right-click (Windows) or Control-click (Mac OS) a 24p clip in the Project panel. 2. Select Modify > Interpret Footage. 3. Under Frame Rate, select Remove 24p DV Pulldown. 4.
4. Select the Mobile & Devices presets folder. Do one of the following: To edit a movie aimed exclusively at devices supporting 3GPP video at frame sizes of 176x144 or 88x72, select the CIF, QCIF, QQCIF preset. To edit a movie for distribution on the web or on mobile devices that can display 4:3 video at frame sizes of 320x240 or 128x96, select the iPod, QVGA, Sub-QCIF preset. 5. Enter a name in the Sequence Name field and click OK.
A nested sequence always represents the current state of its source. Changing the content of the source sequence is reflected in the content of nested instances. Duration is not directly affected. A nested sequence clip’s initial duration is determined by its source. This includes empty space at the beginning of the source sequence, but not empty space at the end. You can set a nested sequence’s In and Out points as you would other clips.
Attach closed caption files To attach a closed caption data file to a sequence, see Closed Captioning workflow in Premiere Pro. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating special clips (synthetics) Create Create Create Create Create Create a counting leader (Windows only) color bars and a 1-kHz tone HD color bars and a 1-kHz tone black video a color matte a transparent video clip To the top Create a counting leader (Windows only) If you plan to create film output from a sequence, you may want to add a counting leader. A counting leader helps a projectionist verify that audio and video are working properly and are synchronized.
You can create a one-second clip containing color bars and a 1-kHz tone, as a reference for calibrating video and audio equipment. 1. In the Project panel, click the New Item button at the bottom of the Project panel and choose Bars And Tone. 2. In the New Synthetic dialog box, set Width, Height, Timebase, Pixel Aspect Ratio, and Sample Rate to match these same settings for the sequence in which you will use the bars and tone. Click OK.
To the top Create a transparent video clip Transparent Video is a synthetic clip just like Black Video, Bars and Tone, and Color Matte. It comes in handy when you want to apply an effect that generates its own image and preserves transparency, such as the Timecode effect or the Lightning effect. Think of Transparent Video as “Clear Matte.” Eran Stern explains the purpose and use of transparent video clips in Adobe Premiere Pro in this video.
Creating and playing clips Source clips, clip instances, subclips, and duplicate clips Duplicate a clip Creating subclips Play back a clip in the Project panel In Premiere Pro, you create clips by importing files, duplicating clips, or making subclips. You create a clip instance by using a clip in a sequence. To the top Source clips, clip instances, subclips, and duplicate clips In Premiere Pro, a clip points to a source file. Trimming a clip, or editing it in any way, does not affect the source file.
To the top Creating subclips A subclip is a section of a master (source) clip that you want to edit and manage separately in your project. You can use subclips to organize long media files. You work with subclips in a Timeline panel as you do with master clips. Trimming and editing a subclip is constrained by its start and end points.
Do one of the following: Ctrl-drag (Windows) or Command-drag (Mac OS) a clip instance from a sequence into an open bin in a Project panel. Type a name for the subclip, and click OK. Right-click a clip instance in a sequence, and select Make Subclip. Type a name for the subclip, and click OK. Adjust media start and end times of a subclip 1. Select the subclip in the Project panel. 2. Choose Clip > Edit Subclip. 3. Edit the Subclip Start and End timecode fields.
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Adding clips to sequences Adding clips to a sequence Open a sequence Targeting tracks Drag video and audio to a sequence Drag video only or audio only to a sequence Add a track while adding a clip Insert a clip into a sequence Overwrite a clip into a sequence Insert or Overwrite by dragging a clip to the Program panel Make three-point and four-point edits Add clips to a sequence automatically Mixing clip types in a sequence Replace one clip with another in a Timeline Replace the source footage for a clip Se
A sequence may contain several video and audio tracks. When you add a clip to a sequence, it is important to assign which track or tracks it is to be edited to. You can target one or more tracks, for both audio and video. Target tracks depending on the editing method you use: editing from the Source Monitor, dragging, or copy/pasting to the timeline.
If you don’t want to set In and Out points, you can drag the clip directly from a bin or the preview thumbnail in the Project panel. 2. To make clip edges align when you drag them, make sure that the Snap button is active in a Timeline panel. 3. Do one of the following: To drag the video and audio portions of a clip to specific tracks, drag the clip from the Source Monitor or Project panel into a Timeline. When the video portion of the clip lies above the desired video track, press and hold Shift.
To the top Add a track while adding a clip Drag a clip from the Project panel or Source Monitor into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip.
To the top Insert or Overwrite by dragging a clip to the Program panel You can select and drag a clip from the Project panel, Source panel, or Media Browser into the Program monitor. When doing so, an overlay appears in monitor to provide a visual depiction of Overwrite versus Insert edits. A tool tip appears to describe the modifier key used to toggle between these different types of edits.
To perform an overwrite edit, click the Overwrite button . Make a four-point edit 1. In a Project panel, double-click a clip to open it in the Source Monitor. 2. Click the headers of the tracks in a Timeline panel into which you want to add the clip to target them. 3. In the Timeline, drag the source track indicators to the headers of the tracks into which you want the clip components to fall. 4. Using the Source Monitor, mark an In point and an Out point for the source clip. 5.
3. Select the clips in the Project panel. Either Ctrl-click (Windows) or Command-click (Mac OS) them in the order you want or by dragging a selection marquee around them. 4. In the Project panel, click the Automate To Sequence button . 5. Set the following options in the Automate To Sequence dialog box, and then click OK: Ordering Specifies the method used to determine the order of the clips when they are added to the sequence.
above the clip, Premiere Pro probably can not play it back in real time without rendering. A clip with a frame rate different from the frame rate of the sequence will play back from a sequence at the frame rate of the sequence. To the top Replace one clip with another in a Timeline You can replace one clip in a Timeline panel with another from the Source Monitor or a bin, retaining any effects that were applied to the original clip in a Timeline.
Note: Sequence In and Out points are automatically removed when you perform a lift or extract edit from the Program Monitor. Set sequence In and Out points 1. Navigate to the In point in a Timeline panel and click the Set In Point button in the Program Monitor. 2. Navigate to the Out point in a Timeline panel and click the Set Out Point button .
Correcting mistakes Correct mistakes History panel To the top Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window. Do one of the following: To undo the most recent change, choose Edit > Undo. (You can sequentially undo as many as 32 recent changes made to the project in any Premiere Pro panel.
To navigate in the History panel, drag the panel’s slider or scroll bar; or choose Step Forward or Step Backward from the panel menu. To delete a project state, select the state. Then choose Delete from the panel menu or click the Delete icon and click OK. To clear all states from the History panel, choose Clear History from the panel menu. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Working with clips in a sequence Find a clip in any sequence with Clip Usage View the source of a sequence clip in the Project panel Analyze speech for text XMP metadata Enable or disable a clip Group clips Snap clips To the top Find a clip in any sequence with Clip Usage Note: you can also see the number of times a clip has been used by making the Video Usage column visible in the Project panel.
Select the merged clip, and then choose Clip > Analyze Content. Note: You can analyze multiple merged clips, multiple clips, or a combination of both by selecting the clips, and then choose Clip > Analyze Content. To analyze a specific track for speech, set the File pop up menu to the component audio clip you wish to analyze, and then click the Analyze button in the Speech Analysis section of the Metadata panel. Note: Useful results from speech analysis require good audio quality.
To insert, delete, merge, cut, or copy words, right-click an existing word, and choose a command from the context menu. Copy text from speech metadata to the clipboard for use in a text editor Right-click the transcript, and choose Copy All. Improve speech analysis with reference scripts Accuracy of the speech to text conversion depends on the clarity of the spoken words and the quality of the recorded dialog.
that standard speech analysis cannot provide. To find and fix more errors, you can make side-by-side comparisons of the text of the Adobe Story script with the text of the speech analysis. If a clip has a Story script attached to it, the script is displayed in the Embedded Adobe Story Script view in the Speech Analysis section of the Metadata panel. Compare the script displayed in this view to the results of the speech analysis displayed in the Analysis Text view below it.
To the top Group clips You can group multiple clips so that you can move, disable, copy, or delete them together. Both audio and video tracks of a linked clip are included when you group it with other clips. You can’t apply clip-based commands, such as the Speed command, or effects to the group, though you can select individual clips in the group and apply effects.
Trimming clips (CS5 and CS5.5) Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline Trimming (CS5.5, and earlier) Making ripple and rolling edits Make slip and slide edits Making split edits Work in the Trim Monitor Trim with Speech Analysis To the top Working with In and Out points Setting a clip’s In and Out points is a process called marking.
Zoom in or out on an audio waveform in the Source Monitor You can zoom into an audio waveform in the Source Monitor to better identify locations for markers, In points, or Out points. 1. Double-click an audio clip in the Project panel to open it in the Source Monitor. 2. To zoom in horizontally, drag either end of the horizontal zoom bar that runs above the time bar in the Source Monitor. The waveform of all channels, and the time bar, will expand or contract horizontally. 3.
Open and view recent clips from the Source Monitor You can load more than one clip at a time in the Source Monitor. However, you can view only one clip at a time. Recently loaded clips are available from a menu at the top of the Source Monitor. 1. In the Source Monitor tab, click the downward-pointing triangle to open the tab menu. 2. Select the name of the clip you want to view. Note: You can assign keyboard shortcuts for selecting and closing clips in the Source Monitor.
Adjusting edit points in the Source Monitor Sometimes, adjusting In and Out points after a clip is in the Timeline is necessary. If you open a clip from the Timeline into the Source Monitor, you can drag the In/Out Grip in the Source Monitor to set new locations for the In and Out points. This technique is useful for using a different section of a clip in the Timeline. In fact, it is one way to perform a Slip edit.
To the top Timeline Trimming (CS5.5, and earlier) Trim with Trim-in and Trim-out tools You can change a clip’s In point or Out point by dragging its edge in a Timeline panel. As you drag, the current In or Out point appears in the Program Monitor. A tool tip displays the number of frames that you are trimming: a negative value if you are dragging the edge toward the beginning of the sequence and a positive number if you are dragging toward the end of the sequence.
2. Select [Custom] from the Set drop-down menu. 3. Select Application from the drop-down menu of keyboard command types. 4. Scroll down to Trim In Point To Playhead and Trim Out Point To Playhead. 5. Set keyboard shortcuts for Trim In Point To Playhead and Trim Out Point To Playhead. Trim the In Point or Out Point to the playhead 1. Note: This edit function creates a gap in your sequence.
Program Monitor and Timeline during a rolling edit Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This action effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence. Pressing Alt (Windows) or Option (Mac OS) when you begin to perform a rolling edit overrides video and audio linking, allowing you to create a split edit (L-cut or J-cut).
Make rolling edits (extend edits) with the playhead You can move the In point or Out point of a clip in a sequence to the playhead, without leaving gaps in the sequence. This type of editing is sometimes called extending an edit, or using extend edit commands. Setting up an extend edit In Premiere Pro CS5, you first assign keyboard shortcuts in the Keyboard Customization dialog box. Then use the designated keyboard commands to extend edits as rolling edits.
Timeline panel during (above) and after (below) a ripple edit When using the Selection tool, you can toggle from the Trim-in or Trim-out icon to a Ripple edit icon by pressing the Ctrl (Windows) or Command (Mac OS) key. Release Ctrl (Windows) or Command (Mac OS) to revert to the Selection tool. To the top Make slip and slide edits Just as ripple and rolling edits allow you to adjust a cut between two clips, slip and slide edits are useful when you want to adjust two cuts in a sequence of three clips.
In this slip edit, a clip is dragged left, moving its source In and Out points later in time. 1. Select the Slip tool . 2. Position the pointer on the clip you want to adjust, and drag left to move the In and Out points later in the clip, or drag right to move the In and Out points earlier in the clip. Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration.
You can create a split edit by unlinking the video from the audio in adjoining clips in a sequence, and then trimming audio separately from video so that the video of one overlaps the audio of the other. Typically, a rolling edit (or extend edit) is used for this task. Pressing Alt (Windows) or Option (Mac OS) when you begin to perform a rolling edit temporarily unlinks video and audio, allowing you to more easily create a split edit (L-cut or J-cut).
Make a rolling edit using the Trim Monitor 1. In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. 2. Click in the Sync Lock box in the header of any track you want to shift when the rolling edit is made. 3. In a Timeline, place the playhead at the edit point. This will display the edit point in the Trim Monitor. 4. Step text 5.
Drag the left or right jog disk to trim the corresponding clip. Drag the Outgoing Out Point icon in the left view’s time ruler, or drag the Incoming In Point icon in the right view’s time ruler. Drag the Out Shift or In Shift timecode number left or right to ripple-edit the corresponding clip.
Editing audio 358
Overview of audio and the Audio Track Mixer Working with audio Audio tracks in a sequence Channels in audio clips Mixing audio tracks and clips Processing order for audio Making quick audio adjustments View audio data Audio Track Mixer overview To the top Working with audio In Adobe® Premiere® Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono or 5.1 surround channels.
For advanced editing using Adobe Edition, select Edit > Edit in Audition. To the top Audio tracks in a sequence A sequence can contain any combination of the following audio tracks: Standard The standard track replaces the previous stereo track type. It can accommodate both mono and stereo audio clips. Standard tracks can contain both mono and stereo clips, but not adaptive or 5.1 clips. The standard track is used as the default preset for audio tracks. Mono (monophonic) Contains one audio channel.
To preserve the matrix of an imported 5.1 audio clip, use the clip in a 5.1 audio track in a sequence. To use the component channels as discrete multi-mono tracks in a sequence, import or remap the clip into mono channels. To the top Mixing audio tracks and clips Mixing is blending and adjusting the audio tracks in a sequence. Sequence audio tracks can contain many audio clips, and the audio tracks of video clips. Actions you perform when mixing audio can be applied at various levels within a sequence.
waveform shows the amplitude (loudness or quietness) of the audio—the larger the waveform, the louder the audio. Viewing the waveforms in an audio track is helpful for locating specific audio in a clip. To view a waveform, expand the audio track by clicking the triangle next to the audio track name. View audio clips You can view an audio clip’s Volume, Mute, or Pan time graphs and its waveform in a Timeline panel.
Audio Track Mixer A. Pan/balance control B. Automation mode C. Mute Track/Solo Track/Enable Track For Recording buttons D. VU meters and faders E. Track name F. Clipping indicator G. Master VU meter and fader By default, the Audio Track Mixer displays all audio tracks and the master fader, and the VU meters monitor output signal levels. The Audio Track Mixer represents the tracks in the active sequence only, not all project-wide tracks.
Audio Mixer A. Show/Hide Effects and Sends B. Effects C. Sends D. Track Output Assignment E. Automation Mode Modify the Audio Track Mixer 1. Choose any of the following from the Audio Track Mixer menu: To display or hide specific tracks, choose Show/Hide Tracks, use the options to mark the tracks you want to see and click OK. To display hardware input levels on the VU meters (not track levels in Premiere Pro), choose Meter Input(s) Only.
Only the tracks with the Solo Track button enabled are monitored during playback. Note: You can also silence a track using the Mute Track button. Audio Meters panel 1. Select Window > Audio Meters. Audio Meter panel A. LED Meter (gradients in the meter panel) B. Solo channels C. Clipping indicator D. Peak indicator E. Valley indicator 2. Right-click the panel and use the options to do the following: View peaks as static peaks or dynamic peaks.
Monitor Stereo Pairs Only available for sequences with multi-channel masters played in the Timeline. For example, for an 8-channel multichannel master sequence, you can monitor just channels 3 and 4 out of the left and right speakers. Note: Disabled channels are not displayed in the Source monitor or in the Audio Meters panel. Customize a VST effect in an options window 1. Apply a VST plug-in effect to a track in the Audio Mixer. 2. Double-click the effect in the Effects And Sends panel.
Working with clips, channels, and tracks Mapping source and output audio channels Audio channel icons Extract audio from clips Render and replace audio Break a stereo track into mono tracks Use a mono clip as stereo Placing sound from one channel of a stereo clip into both channels Linking multiple audio clips Link audio clips Edit a multi-clip link in the Source Monitor To the top Mapping source and output audio channels Mapping the audio channels in clips determines the type and number of audio tracks i
To enable or disable an audio channel, select or deselect the Enable option for a source channel. When you add a clip to a sequence, Premiere Pro adds only the enabled channels to a Timeline panel. To map a source channel to a different output track or channel, drag a track or channel icon to another source channel row. This step swaps the output channels or tracks for the two source channels.
You can specify the channel in a target hardware audio device for each channel in a sequence Master track. You map channels in the Audio Output Mapping pane of the Preferences dialog box. Premiere Pro plays each sequence channel through the hardware channel you specify. For example, your project could have a 5.1-channel sequence, but your system hardware might support only two channels. You could specify which of the two hardware channels carries each of the six sequence channels.
1. In the Project panel, select one or more clips containing audio. 2. Choose Clip > Audio Options > Extract Audio. Premiere Pro generates new audio files containing the extracted audio, with the word “Extracted” added to the end of the filenames. To the top Render and replace audio You can select an audio clip in a sequence and generate a new audio clip that replaces the one you selected. The new audio clip contains any editing and effects you applied to the original sequence clip.
2. In the Source Channel Mapping area, choose Mono from the Default Track Format menu. 3. Click OK. To the top Use a mono clip as stereo You may sometimes find it useful to use a mono audio clip as a stereo clip. Using the Modify Clip dialog box, you can apply a mono clip to a pair of left and right stereo channels. 1. In the Project panel, select a mono clip. 2. Choose Clip > Modify > Audio Channels. 3. In the Modify Clip dialog box, select Mono As Stereo, and then click OK.
Effects applied to audio tracks in multi-clip link displayed in Effect Controls panel To the top Link audio clips The audio clips must have the same channel type and each clip must be on a different track. If clips are already linked, such as an audio clip linked to a video clip, they must be unlinked before you can create a multi-clip link. 1. If necessary, select each linked video and audio clip, or select multiple clips, and choose Clip > Unlink. 2.
Group clips Link and unlink video and audio clips Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Editing audio in a Timeline panel Set sample-based audio In and Out points Link and unlink video and audio clips Create split edits To the top Set sample-based audio In and Out points In and Out points are set at time-base divisions—that is, between video frames. Although frame-based edits are adequate for audio as well, some audio edits require greater precision.
3. Drag either end of the zoom scroll bar below the time ruler in the Source Monitor or Timeline panel. Trim audio in sample view in a Timeline panel 1. In a Timeline panel menu, choose Show Audio Time Units. The time rulers in a Timeline panel and Program Monitor switch to a samplebased scale. 2. If necessary, expand the audio track containing the clip you want to edit, click the Set Display Style button , and choose Show Waveform. 3.
To unlink video and audio, select a linked clip and choose Clip > Unlink. To unlink video and audio from multiple clips, select the clips and choose Clip > Unlink. Note: After unlinking a clip, video remains selected while audio becomes deselected. 2. (Optional) To use a set of linked clips multiple times, create a nested sequence from the set of synchronized clips, and place the nested sequence in other sequences as desired. For more information, see Create a nested sequence from a selection of clips.
1. If necessary, click the triangle to the left of each track name in a Timeline panel to expand the audio tracks you want to adjust. 2. Select one of the clips involved in the split edit, and choose Clip > Unlink. Repeat for the other clip. 3. Select the Rolling Edit tool from the Tools panel. 4. Starting at the audio edit point between the two clips, drag left or right.
Recording audio Capturing analog audio Set the location for captured audio Preparing the audio input channel for recording Record audio from a microphone or another analog source Mute input during recording You can record to an audio track in a new sequence or record to a new audio track in an existing sequence. The recording is saved as an audio clip that’s added to your project. Before recording audio, make sure that your computer has sound inputs.
To the top Record audio from a microphone or another analog source 1. Make sure that you have specified the Input audio device. For more information, see Specify the default audio device. 2. Make sure that the input device (microphone or other audio device) is connected properly to the computer or sound card. If recording from a microphone, check the documentation for your computer or sound card to determine whether the microphone jack is for a monaural or stereo microphone.
A. Record Enable button for track B. Record button for Audio Track Mixer 13. Test the input levels by playing a selection from the analog source, or by having the narrator speak into the microphone. Watch the Audio Track Mixer level meters to ensure that the input levels for record-enabled tracks are high but not clipping. 14. (Optional) When you finish testing, deselect Meter Input(s) Only in the Audio Track Mixer panel menu to meter the project’s audio tracks also. 15.
Recording audio mixes Record changes to sound tracks Preserve a track property while recording an audio mix Audio Track Mixer automation modes Set Automatch Time for Touch mode and Read mode Specify automated keyframe creation Using the Audio Track Mixer, you can apply changes to audio tracks as a sequence plays back. You can instantly hear the results of any changes you make. You can control the volume, pan, and mute settings of a track or its sends.
9. Click the Show Keyframes button at the head of the audio track you changed, and select Show Track Keyframes. 10. Click the clip header toward the top left of an audio clip you changed, and choose from the drop-down menu the type of change you recorded. For example, if you changed the volume, choose Track > Volume. [/substeps] This step will show the keyframes you recorded with the Audio Track Mixer along the yellow change line. You can edit these keyframes like any others in the Timeline.
When you stop adjusting an effect property in Touch mode, the property returns to its initial value. This is also the case while in Read mode if a keyframe exists for the affected parameter. The Automatch Time preference specifies the time for an effect property to return to its initial value. Automating audio changes in the Audio Track Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance.
Panning and balancing Panning and balancing in the Audio Track Mixer Pan or balance a stereo track Pan or balance a 5.1 surround track Pan or balance a 16-channel track Pan or balance a track in a Timeline panel By default, all audio tracks output to the sequence master audio track. However, you can also create submix tracks. You can output audio from any track to a submix track. You can then out put audio from a submix track to a Master Track.
sequence is possible when you use the sequence as a track in another sequence. You can vary the pan setting over time in the Audio Track Mixer, or in a Timeline panel by applying keyframes to a track’s Pan options. Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C.
Selecting channel 12 for the output from the left-front channel of a 5.1 audio track A. Direct Output Assignment buttons for a stereo track B. Direct Output Assignment buttons for a monaural track C. Direct Output Assignment buttons for a 5.1 surround track 1. If the Audio Track Mixer is not open, select Window > Audio Track Mixer, and select the desired 16-channel sequence.
Multiple stereo assignments for tracks to multichannel masters New in Premiere Pro CC Adobe® Premiere® Pro lets you assign a mono or standard track to multiple channel pairs in a multichannel master. Use the Audio Track Mixer to assign tracks to multiple channel pairs. Click Window > Audio Track Mixer to display the Audio Track Mixer. To assign channels, click the Direct Output Assignment button for the standard and mono tracks in the Audio Track Mixer.
Monitor clip volume and pan using Audio Clip Mixer New in Premiere Pro CC The Audio Clip Mixer lets you adjust the volume and pan of clips in the Timeline panel when the Timeline panel is in focus. You can also monitor and adjust the volume and pan of clips in the Source monitor when it is in focus. To access the Audio Clip Mixer, choose Window > Audio Clip Mixer from the main menu. Audio Clip Mixer To the top Exploring the Audio Clip Mixer The Audio Clip Mixer acts as an inspector.
Clip Mixer with channel A2 empty The Clip Mixer lets you adjust clip volume, channel volume, and clip pan. Channels in the Clip Mixer are scalable. The width of channels depends on the number of tracks in the sequence and the width of the panel. To see the channel volume, right-click/Ctrl-click the Clip Mixer and select Show Channel Volume from the context menu. The option is disabled by default. The keyframe button state determines the nature of changes you can make to the volume or panner.
Editing audio in Adobe Audition Working with Adobe Audition Adobe Audition lets you use advanced post-production techniques to create and edit audio. If you have installed Adobe Audition, you can apply the Edit In Adobe Audition command to an audio clip. When you apply the Edit In Audition command to an audio clip, the audio is extracted and the edits are made to a new clip containing the extracted audio. The audio in the original master video clip is preserved.
Advanced mixing Work with submixes Route tracks with sends Downmixing to fewer channels Change 5.1 audio to stereo or mono Routing track output Route or turn off track output To the top Work 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 if you want to work with a number of audio tracks in the same way.
Each track contains five sends, located in the Effects And Sends panel in the Audio Track Mixer. Sends are often used to route a track’s signal to a submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix. A send includes a level knob that controls the ratio of the send track volume to the submix volume.
1. (Optional) To display the Effects And Sends panel in the Audio Track Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Track Mixer. 2. Do any of the following: To designate a send as a pre-fader or post-fader, right-click (Windows) or Control-click (Mac OS) a send and choose Pre-Fader or PostFader from the context menu. To mute a send, click the Send Mute button next to the send control knob for the selected send property.
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Adjusting volume levels Monitor volume level from Timeline, or Program Monitor Monitor volume level while capturing Specify whether to play audio while scrubbing Adjusting gain and volume Normalize one or more clips Normalize the Master track Adjust track volume with keyframes Apply a volume level to several clips Adjust volume in Effect Controls Set track volume in the Audio Track Mixer Mute a track in the Audio Track Mixer Mix tracks in the Audio Track Mixer To the top Monitor volume level from Timeline
Timeline. You can change this setting, if you prefer silent scrubbing. 1. Select Edit > Preferences > Audio (Windows), or Premiere Pro > Preferences > Audio (Mac OS). You can assign a keyboard shortcut to the Preferences > Audio command. See Finding and customizing keyboard shortcuts. 2. Check or deselect Play Audio While Scrubbing, depending on the option desired. 3. Click OK. To the top Adjusting gain and volume Gain generally refers to the input level or volume in clips.
opened for selected clips that have already had their gain adjusted, the current gain value is displayed in this field. Adjust Gain By The default value is 0.0 dB. This option allows the user to adjust gain by + or - dB. Entering a value other than zero in this field automatically updates the Set Gain To dB value to reflect the actual gain value applied to the clip. Normalize Max Peak To The default value is 0.0 dB. Users can set this to any value below 0.0 dB.
Show Track Volume Lets you change only a track’s volume level. 3. If one of the Keyframes settings is selected, do one of the following: If Show Clip Keyframes is selected, choose Volume > Level from the drop-down menu at the head of the clip in the audio track. If Show Track Keyframes is selected, choose Track > Volume from the drop-down menu at the head of the clip in the audio track. Volume adjustment is enabled by default.
Set track volume in the Audio Track Mixer In the Audio Track Mixer, adjust the track’s volume setting. Note: You can use this procedure when automation isn’t applied to a track. If levels vary over time because track automation keyframes are already applied, you may be able to adjust the track level uniformly by sending it to a submix and setting the submix level. To the top Mute a track in the Audio Track Mixer Click the “M” icon in the Audio Track Mixer.
Titling and the Titler 400
Titler text styles Modify the style swatch display Change the default characters in swatches Create a style Apply a style to an object Specify the characters in the Title Styles panel Delete, duplicate, or rename, a style Manage style libraries You can save a combination of color properties and font characteristics as a style, for later use. You can save any number of styles. Thumbnails of all saved styles appear in the Title Styles panel, so you can quickly apply your custom styles across projects.
You can change the default characters that appear on the style swatches. 1. Choose Edit > Preferences > Titler (Windows), or Premiere Pro > Preferences > Titler (Mac OS). 2. In the Style Swatches box, type up to two characters that you would like to appear on the style swatches. 3. Click OK. To the top Create a style 1. Select an object that has the properties you want to save as a style. 2. Do one of the following: From the Title Styles panel menu, choose New Style.
Note: This procedure deletes only the swatch or name from the display area. The style remains in the library. Use the Append Style Library, Reset Style Library, or Replace Style Library command to display the style library again. To duplicate a style, select it, and choose Duplicate Style from the Title Styles panel menu. A duplicate of the selected style appears in the Title Styles panel. To rename a style, select it, and choose Rename Style from the Title Styles panel menu.
Working with text and objects in titles javax.jcr.AccessDeniedException: /content/help/en/premierepro/using/text-objects-titles/jcr:content/jcr:title: not allowed to add or modify item Change the stacking order of objects in titles Align and distribute objects in titles Transform objects in titles To the top Change the stacking order of objects in titles An object is any shape or text box you create in the Titler.
button F. Vertical distribution buttons Center objects in titles 1. In the Titler, select one or more objects. 2. In the Title Actions panel, click the button for the type of centering you want. Note: You can center objects using the Title > Position command and selecting the option you want. Additionally, you can choose Title > Position > Lower Third to position the selected object along the bottom edge of the title-safe margin.
Note: The opacity property setting adjusts the opacity of objects within a title. You can set the overall opacity of the entire title in the sequence as you would that of any video clip, using effects. Adjust the position of objects 1. Select an object, or Shift-click to select multiple objects. 2. Do one of the following: In the drawing area, drag any of the selected objects to a new position. Choose Title > Transform > Position and type new X and Y Position values; then click OK.
1. Select the object, or Shift-click to select multiple objects. 2. In the Properties section of the Title Properties panel, click the triangle next to Distort to show its X and Y options. Adjust the X value to distort the text along the x axis. Adjust the Y value to distort along the y axis. Note: Distort affects an entire graphic object’s horizontal (X) or vertical (Y) aspect. However, it affects each character in a text object individually.
Rolling and crawling titles Create a rolling or crawling title Roll/Crawl Timing options Convert a title to another type Though static titles, graphics, and logos suffice for some projects, many others require titles that move across the screen. (Titles that move vertically over the footage are called rolls. Titles that move horizontally are called crawls.) Note: The length of the title clip in a Timeline panel determines the speed of the roll or crawl.
Postroll Specifies the number of frames that play after the roll completes. Crawl Left, Crawl Right Specifies the direction in which the crawl moves. To the top Convert a title to another type 1. In the Titler Panel, select the text box you want to convert, and click the Roll/Crawl options button. 2. For Title Type, specify the type of title you want, and if necessary, specify Timing options. 3. Click OK. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Fills, strokes, and shadows in titles javax.jcr.
color stop you want to define and adjust as necessary. The Angle option (available for Linear Gradient only) specifies the angle of the gradient. The Repeat option specifies the number of times to repeat the gradient pattern. 4-Color Gradient Creates a gradient fill composed of four colors, with a color emanating from each of the object’s corners. The Color option specifies the color that emanates from each corner of the object. Double-click a box at any of the corners to choose a color for that corner.
5. To specify how the texture scales, aligns, and blends with its associated object, set any of the remaining options: Flip With Object Flips the texture horizontally and vertically when the object is flipped (by dragging the object anchor points over each other). Rotate With Object Rotates the texture in sync with the object. Scaling Object X, Scaling Object Y Specifies how the texture is stretched along the x or y axis when applied to the object.
you can easily change that order. 1. Select the object. 2. In the Properties section of the Title Properties panel, expand the Strokes category. 3. Click Add next to either Inner Stroke or Outer Stroke. 4. Set any of the following options: Type Specifies the type of stroke you apply. Depth creates a stroke that makes the object appear to extrude. Edge creates a stroke that encompasses the entire inner or outer edge of the object.
5. Select either Inner Stroke or Outer Stroke. 6. Click Delete. To the top Create a drop shadow Add drop shadows to any object you create in the Titler. The various shadow options give you full control over color, opacity, angle, distance, size, and spread. 1. Select an object. 2. In the Title Properties panel, select Shadow. 3. Click the arrow next to the Shadow option to set any of the values including: Distance Specifies the number of pixels that the shadow is offset from the object.
Drawing shapes in titles Create shapes Change the shape of a graphic object or a logo Draw straight segments with Pen Tool Draw curves with Pen Tool Adjust object anchor points and curves To the top Create shapes You can use the drawing tools in the Titler to create various shapes, such as rectangles, ellipses, and lines. The Titler includes standard pen tools that resemble pen tools used in Illustrator and Photoshop.
To the top Draw straight segments with Pen Tool Draw straight lines by clicking Pen Tool in the drawing area. Pen Tool creates object anchor points connected by straight segments. 1. Select Pen Tool. 2. Position the tip of the pen point where you want the straight segment to begin, and click to define the first object anchor point. The object anchor point remains selected (solid) until you add the next point. Note: The first segment you draw is not visible until you click a second object anchor point.
To create a C-shaped curve, drag in a direction opposite to the direction that you dragged to create the previous object anchor point. Drawing second point in curves To create an S-shaped curve, drag in the same direction that you dragged to create the previous object anchor point. Drawing S curves 6. Continue dragging Pen Tool from different locations to create additional points. To close the path, position Pen Tool over the first object anchor point. Click or drag to close the path.
3. Click the point that you want to delete. Adjust an object anchor point 1. Select the path containing the object anchor point. 2. Select Pen Tool . 3. Position the cursor over the point. When the cursor becomes an arrow with a square next to it, drag the object anchor point to adjust it. Convert object anchor points from one type to another You can change the type of object anchor point you have created for a segment. 1. Select the path you want to modify. 2.
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. Join Type Specifies how the ends of adjoining path segments are joined. The Miter option joins path segments using pointed corners. The Round option joins path segments using rounded corners. The Bevel option joins path segments using squared corners.
Creating and formatting text in titles javax.jcr.AccessDeniedException: /content/help/en/premierepro/using/creating-formatting-text-titles/jcr:content/jcr:title: not allowed to add or modify item Enter text in titles Format text in titles Work with paragraph text Create tab stops in titles To the top Enter text in titles When adding text to a title, you can use any font on your system, including Type 1 (PostScript), OpenType, and TrueType fonts.
Wrap text automatically You can set the titler to wrap text within the title safe area automatically. Select Title > Word Wrap. Type horizontal or vertical text in a text box 1. Open the Titler Tools panel. To type horizontal text, click the Area Type tool . To type vertical text, click the Vertical Area Type tool . 2. In the drawing area, drag to create a text box. 3. Type the text. The text wraps when it reaches the boundaries of the text box. 4.
or graphic object, click the object and then modify its properties. To the top Format text in titles Some object properties—such as fill color and shadow—are common to all objects you create in the Titler. Other properties are unique to text objects. Controls for font, font style, and type alignment are in the Titler panel above the drawing area. Other options are available in the Title Properties panel and the Title menu of the main menu bar.
Specify text properties When you select any object in a title, its properties are listed in the Title Properties panel. Adjusting values in the panel alters the selected object. Text objects possess unique properties, such as leading and kerning. Note: Some text properties are not listed in the Title Properties panel. For example, you can set font, font style, and type alignment either in the Titler panel or in the Title menu.
Tools in the Titler make it possible to quickly resize and align paragraph text. Change paragraph justification Select a paragraph text object, and at the top of the Titler panel: To justify text to the left of its text box, click Left To center the text in its text box, click Center . . To justify text to the right side of its text box, click Right . Reflow paragraph text Select a paragraph text object. Drag any handle of the paragraph text’s bounding box to resize the box.
Delete a tab stop In the Tab Stops dialog box, drag the tab up, down, or off the tab ruler. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating and editing titles Create new titles Open, import, or export a title About safe margins in the Titler Choose, create, and import title templates Show video behind the title The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well. The Titler is a collection of related panels. You can close the panels within the Titler without closing the Titler. You can dock the panels to each other or to other parts of the interface.
1. In the Titler, open or select the title on which you want to base a new title. 2. In the Title Quick Properties panel, click New Title Based On Current Title . 3. In the New Title dialog box, enter a name for the new title and click OK. 4. Change the new title as desired. 5. Close the Titler or save the project to save the title. To the top Open, import, or export a title Open a title for editing Double-click the title in the Project panel or in a Timeline panel.
TVs display, keep text within the title-safe margins. Keep all other important elements within the action-safe margins. Note: If you are creating content for the web or for CD, the title-safe and action-safe margins do not apply to your project. The entire image is displayed in these media. To the top Choose, create, and import title templates The title templates included with Premiere Pro provide numerous themes and preset layouts that make it quick and easy to design a title.
To restore the default set of templates, choose Restore Default Templates from the Templates panel menu. 2. Click OK. Rename or delete a template With a title open, click the Templates button and select a template. To rename the selected template, choose Rename Template from the Templates panel menu. Type a name in the Name box, and click OK. To delete a template, choose Delete Template from the Templates menu, and then click OK.
revealing the image of clips in lower tracks. In the Titler panel, select Show Video. To change the frame interactively, drag the time value next to Show Video until the frame is visible in the drawing area. To display the frame by specifying its timecode, click the time value next to Show Video and enter the frame’s timecode in the active sequence. Note: The Show Video value uses the same time display format specified in the project settings.
Add images to titles Place a logo in a title Place a logo in a text box Return a logo to its original size or aspect ratio Use the Titler to place images in a title, such as adding a logo graphic. You can either add the image as a graphic element or place it in a text box to become part of the text. The Titler accepts both bitmap images and vector-based artwork (such as art created with Adobe Illustrator). However, Premiere Pro rasterizes vector-based art, converting it to a bitmap version in the Titler.
Effects and transitions 432
Motion: position, scale, and rotatea clip Adjust position, scale, and rotation Scale assets Animate motion in the Program Monitor Adjust or animate clip anchor points To the top Adjust position, scale, and rotation Use the Motion effect to position, scale, or rotate a clip within the video frame. To animate clips, you must set keyframes for Motion properties. By default, each clip that you add to a Timeline panel has the Motion effect applied as a fixed effect.
To rotate a clip or effect, position the pointer slightly outside any of the handles, so that the pointer changes into the Rotate icon and drag. For the Motion effect, you can also drag in a circular motion until the clip rotates the number of times you want to create multiple rotations. To update only the wireframe outline of the frame, Alt-drag (Windows) or Option-drag (Mac OS) any handle. This may give faster results for clips with large dimensions or for slow systems.
3. Click OK. To the top Animate motion in the Program Monitor You can create animations, insets, and split screens by manipulating a clip directly in the Program Monitor and setting keyframes for the Motion effect. By adjusting a clip’s position and scale in the Program Monitor, you reveal clips in the tracks below it and can create interesting compositions. When you animate a clip’s position, the clip’s motion is represented by a motion path in the Program Monitor.
5. In the Program Monitor, change the keyframe value by positioning the pointer near any of the clip’s eight square handles to use any of the following pointer tools: The selection pointer to set the position value. The rotate pointer to set the rotation value. The scale pointer to set the scale value. Note: If clip handles disappear, reselect the Motion effect in the Effect Controls panel. 6.
3. Click the triangle next to the Motion control in the Effects Controls panel. 4. Click the Toggle Animation button next to the Position control to set the first keyframe. 5. Drag the current-time indicator in either a Timeline panel or the Effect Controls panel to the frame where you want to end the animation. 6. In the Program Monitor, drag the clip to the location where you want the clip at the end of its movement.
5. Drag the anchor point vertical control to the left (decreasing the number value) to offset the anchor point toward the top of the clip, or to the right (increasing the number value) to offset it toward the bottom. 6. Click the Add/Remove Keyframe button to set the keyframe. 7. (Optional) To change the location of the clip anchor point over time, move the current-time indicator in the Effect Controls panel or in a Timeline panel to a different point in time.
Viewing and adjusting effects and keyframes View effects in the Effect Controls panel View keyframes for an effect property in the Timeline panel Adjust or reset controls in the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip. Fixed effects are included with every clip: the Motion, Opacity, and Time Remapping effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section.
Note: It is not necessary to position the current-time indicator over a clip to activate the Effect Controls panel. To expand or collapse video or audio effects headings, click the Show/Hide button in the heading. When the arrows are pointing up the heading is expanded to reveal all the effects in that section. When the arrows are pointing down , the heading is collapsed.
created using the default values. If you accidentally click Reset, restore your work by choosing Edit > Undo. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Transition overview: applying transitions Clip handles and transitions Single- and double-sided transitions Applying transitions Apply a transition between two clips Apply a single-sided transition Specify and apply default transitions Copy and paste a transition Copy and paste a transition to multiple edit points Replace a transition A transition moves a scene from one shot to the next.
A. Media Start B. Handle C. In point D. Out point E. Handle F. Media End In some cases, the source media may not contain enough frames for clip handles. If you apply a transition, and the handle duration is too short to cover the transition duration, an alert appears to warn you that frames will be repeated to cover the duration. If you decide to proceed, the transition appears in a Timeline panel with diagonal warning bars through it.
To the top Applying transitions To place a transition between two clips (centered on the cut line), the clips must be on the same track, with no space between them. As you drag the transition to a Timeline panel, you can adjust the alignment interactively. Whether or not the clips have trimmed frames determines how you can align the transition as you place it between the clips.
Note: As you drag over heads or tails of clips in a Timeline panel, you can see the area covered by the transition outlined. To place a transition at the end of a clip that is not adjacent to another clip, drag and drop the transition. Don’t Ctrl-drag (Windows) or Command-drag (Mac OS). The transition automatically becomes single-sided. To preview the transition, play the sequence or drag the current-time indicator through the transition.
Note: You can add the default video transition between clips in a video track by pressing Ctrl+D (Windows) or Command+D (Mac OS). You can add the default audio transition between two clips in an audio track by pressing Ctrl+Shift+D (Windows) or Command+Shift+D (Mac OS). Apply default transitions between selected clips You can apply the default video and audio transitions to any selection of two or more clips. The default transitions are applied to every edit point where two selected clips touch.
If you paste a transition without selecting edit points, the transitions are pasted to edit points at or near the playhead, without overriding track targeting. If a selected edit point already has a transition, and: if the pasted transition is different from the existing one, then the transition type changes but preserves the existing transition's duration and alignment. For example, pasting a Cross Dissolve transition over a Barn Door transition.
Three-way Color Corrector effect The three-way color corrector has been redesigned to improve accessibility to the most commonly used features, and to simplify existing workflows. Three-way color corrector Output menu The Output menu has two options, Video and Luma. The Composite option has been relabeled to Video. Split view The Split view is collapsed by default. Master color wheel The Master option replaces the Master color wheel.
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Stabilize motion with the Warp Stabilizer effect Stabilize with the Warp Stabilizer effect Warp Stabilizer settings You can stabilize motion with the Warp Stabilizer effect. It removes jitter caused by camera movement, making it possible to transform shaky, handheld footage into steady, smooth shots. For information about the Warp Stabilizer effect, and how memory and storage are affected, see this blog post.
Smoothness Chooses how much the camera’s original motion is stabilized. Lower values are closer to the camera’s original motion while higher values are smoother. Values above 100 require more cropping of the image. Enabled when the Result is set to Smooth Motion. Method Specifies the most complex operation the Warp Stabilizer performs on the footage to stabilize it: Position: Stabilization is based on position data only and is the most basic way footage can be stabilized.
Synthesis Input Range (seconds) Used by Stabilize, Synthesize Edges framing, controls how far backward and forward in time the synthesis process goes to fill in any missing pixels. Synthesis Edge Feather Selects the amount of feather for the synthesized pieces. It is enabled only when using the Stabilize, Synthesize Edges framing. Use the feather control to smooth over edges where the synthesized pixels join up with the original frame.
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The rolling shutter repair effect A common problem for DSLR and other CMOS sensor-based cameras is that they typically have a lag time between scanning lines of video. Due to the time lag between scans, not all parts of the image are recorded at exactly the same time, causing rolling shutter distortions. These distotions can occur when the camera or subject is moving. The Rolling Shutter Repair effect in Premiere Pro can be used to remove these distortion artifacts.
Modifying and customizing transitions Display transitions in the Effect Controls panel Adjust transition alignment Move a cut and transition together Change transition duration Reposition the center of a transition Change transition settings To the top Display transitions in the Effect Controls panel You can use the Effect Controls panel to change settings for a transition you placed in a sequence. Settings vary from transition to transition.
Note: You can’t change a double-sided transition into a single-sided transition. If you realign a double-sided transition to the start or end of a clip, it will use handles from the adjacent clip. Align a transition in a Timeline panel 1. In a Timeline panel, zoom in so that you can clearly see the transition. 2. Drag the transition over the cut to reposition it. Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel 1.
Move a cut and transition together You can adjust the location of the cut in the Effect Controls panel. Moving the cut line changes the In and Out points of the clips, but does not affect the length of the movie. As you move the cut, the transition moves with it. Note: You can’t move the cut beyond the end of a clip. If both clips do not have trimmed frames extending beyond the cut, you cannot reposition the cut. 1. Double-click the transition in a Timeline panel to open the Effect Controls panel. 2.
Set the default duration for transitions If you change the default, the new setting has no affect on transitions already placed. 1. Choose Edit > Preferences > General. 2. Change the value for the Video Transition Default Duration or Audio Transition Default Duration; then click OK. To the top Reposition the center of a transition Some transitions, such as Iris Round, are positioned around a center.
Custom Changes settings specific to the transition. Most transitions don’t have custom settings. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Interlacing and field order Interlaced video, noninterlaced video, and progressive scanning About field dominance and field reversal Create interlaced or non-interlaced clips Change the field order of a clip To the top Interlaced video, noninterlaced video, and progressive scanning Interlaced scanning of interlaced video fields compared with progressive scanning of noninterlaced video frame. A.
The video capture card used to capture the footage is set to the field dominance opposite that of the source device, The editing or animation software that last rendered the clip had the field dominance set opposite that of the original clip, The clip is set to play backward. To the top Create interlaced or non-interlaced clips Ordinarily, individual interlaced fields aren’t apparent to a viewer.
2. Select Modify >Interpret Footage. 3. Choose the desired Field Order option. 4. Click OK. Adobe also recommends Choose fields in the Source and Program Monitors Choose fields in the Source and Program Monitors Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Adjustment Layers Adjustment Layers Create an adjustment layer Resize an adjustment layer to highlight an area Blend modes and adjustment layers Transform effect and adjustment layers Video tutorial: Using adjustment layers in Premiere Pro To the top Adjustment Layers In Adobe® Premiere® Pro, you can use an adjustment layer to apply the same effect to multiple clips on the Timeline. Effects applied to an adjustment layer affect all layers below it in the layer stacking order.
1. Double-click the adjustment layer in the Timeline display area. 2. Drag the anchor point in the center of the screen to reposition the adjustment layer, and then drag the edge of the clip to scale it down. Blend modes and adjustment layers Using an adjustment layer, you can apply the same blend mode and opacity adjustment to a range of clips. Do this in Premiere Pro by changing the blend mode under Opacity in the Effect Controls tab of the adjustment layer.
About effects Fixed effects Standard effects Clip-based and track-based effects Effect plug-ins GPU-accelerated effects High-bit-depth effects 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.
Standard effects are additional effects that you must first apply to a clip to create a desired result. You can apply any number or combination of Standard effects to any clip in a sequence. Use Standard effects to add special characteristics or to edit your video, such as adjusting tone or trimming pixels. Premiere Pro includes many video and audio effects, which are located in the Effects panel. Standard effects must be applied to a clip and then adjusted in the Effect Controls panel.
GPU-Accerlerated Effects Performance Enhancements Learn how to take advantage of GPUaccelerated effects. This tutorial shows how to identify accelerated effects, and to activate GPU support. It also lists the graphics cards that support GPU acceleration in Adobe Premiere Pro.... Read More by Jeff Sengstack http://blog.lynda.com/tag/... Contribute your expertise to Adobe Community Help http://tv.adobe.com/watch/learn-premiere-pro-...
Black & White Brightness & Contrast Color Balance (RGB) Color Pass (Windows only) Color Replace Crop Drop Shadow Edge Feather Eight-Point Garbage Matte Extract Fast Color Corrector Four-Point Garbage Matte Gamma Correction Garbage Matte (4, 8, 16) Gaussian Blur Horizontal Flip Levels Luma Corrector Luma Curve Noise Proc Amp RGB Curves RGB Color Corrector Sharpen Sixteen-Point Garbage Matte Three-way Color Corrector Timecode Tint Track Matte Key Ultra Keyer Video Limiter Vertical Flip Cross Dissolve Dip to
Additive Dissolve Film Dissolve The New Film Dissolve Effect Important information about the new Film Dissolve transition is included in this video by Video2Brain.... Read More by Todd Kopriva http://blogs.adobe.com/pre... http://www.video2brain.com/en/videos-3775.htm Contribute your expertise to Adobe Community Help List of GPU accelerated effects in Premiere Pro Here is a list of the additional effects and transitions that can be accelerated by CUDA in Premiere Pro.
Eliminate flicker Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens. The Anti-flicker Filter control, located in the Effect Controls tab > Motion effect, can reduce or eliminate this flicker. As you increase its strength, more flicker is eliminated, but the image also becomes softer. You may need to set it relatively high for images with lots of sharp edges and high contrast. 1.
Effect presets Effect presets Create and save an effect preset Apply an effect preset Work with a custom bins and preset bins To the top Effect presets Applying Effects to Groups of Clips Apply effects to groups of clips. Create a multieffect preset, save it in a new custom bin, and apply it to a group of clips.... Read More by Paul Trani http://www.paultrani.com/b... Contribute your expertise to Adobe Community Help http://tv.adobe.com/watch/digital-video/apply...
Creating, Saving, and Applying Presets A video about creating, saving & applying presets from the Creative COW website.... Read More by Andrew Devis http://www.tale2tell.com/ http://library.creativecow.net/articles/devis... Contribute your expertise to Adobe Community Help An example of using Effect Presets is found in this video tutorial. To the top Create and save an effect preset 1. In a Timeline, select the clip that uses one or more effects with the settings that you want to save as a preset. 2.
Drag the effect preset onto the clip in a Timeline panel. Select the clip in a Timeline panel, and then drag the effect preset into the Effect Controls panel. If you dragged the preset onto the clip in a Timeline panel the drop destination is determined as follows: If the Timeline has no clips selected, then the preset is applied to the clip targeted by the drop. If the Timeline has clips selected, but the clip targeted by the drop is not part of that selection, then the selected clips are deselected.
and the bin. 3. Drag the item to the bin. Premiere Pro creates a shortcut to the item. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Duration and speed View the total duration of selected clips Change the default duration for still images Change speed and duration for one or more clips Blend frames for smooth motion Freeze a frame To the top View the total duration of selected clips 1. Make sure that the Info panel is visible. If it is not, choose Window > Info. 2. In either the Project panel or Timeline panel, select the clips for which you want to know the total duration.
choose Clip > Video Options > Frame Blend. For more information about frame blending, see Blend frames for smooth motion. The duration of a clip is the length of time it takes to play from the In point to the Out point. You can set a duration for video or audio clips, letting them speed up or slow down to fill the duration. You can do the same for still-image clips, but without the changes in speed. You can change the speed and duration for one or more clips at a time.
1. In the track header of the video track containing the desired clip, click the Show Keyframes button. If it is not selected, select Show Keyframes. 2. Click the Clip Effect menu triangle, and choose Time Remapping > Speed. (The Clip Effect menu triangle appears next to the filename of every clip in a video track. If it is hard to see, zoom in to make enough room in the clip to display it.) A horizontal rubber band that controls the speed of the clip appears across the center of the clip. 3.
Time-remapping distorts time for range of frames within clip. Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer. If a second clip immediately follows the lengthened clip in the video track, the lengthened clip is automatically trimmed where the second clip begins.
Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer. 4. (Optional) To create a speed transition, drag the right half of the speed keyframe to the right, or the left half to the left. A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubber band forms a ramp between the two halves, indicating a gradual change in speed occurring between them.
A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed control track appears in the upper portion of the clip, just below the clip title bar. 2. Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe . 3.
Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline. In effect, Time Remapping performs an edit. However, you can use the Toggle Animation control in the Effect Controls panel. 1. Click the Effect Controls tab to make this panel active. 2. Click the triangle next to Time Remapping to open it. 3.
2. Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe . 3. Ctrl+Alt-drag (Windows) or Option+Command-drag (Mac OS) the speed keyframe to the place at which you want the freeze frame to end. Note: Be sure to drag the rubber band horizontally, not vertically as you do with other keyframes. A second keyframe is created at the place where you dropped the keyframe.
1. Select a clip in a Timeline panel. 2. To freeze a frame other than the In or Out point, open the clip in the Source Monitor, and set Marker 0 (zero) to the frame you want to freeze. 3. Choose Clip > Video Options > Frame Hold. 4. Select Hold On, and select the frame you want to hold from the menu. 5. Specify the following options as necessary, and then click OK: Hold Filters Prevents keyframed effect settings (if any are present) from animating during the duration of the clip.
Creating common results Fade in video Picture-in-picture (PIP) and split screen Zoom and pan a still image Place lightning over part of a clip Create a Jacob’s Ladder Make reverb ring out This section contains procedures for achieving of some of the most popular results with Premiere Pro. You can find procedures for achieving many other results with Premiere Pro Community Help search. To the top Fade in video 1. To fade a video clip in, or fade up from black, select a clip in a Timeline panel. 2.
1. Place a Transparent Video clip in a video track above the original clip. 2. Apply the Lightning effect to the Transparent Video clip. 3. Trim the Transparent Video clip to the duration needed for the appearance of lightning. To the top Create a Jacob’s Ladder You can create a Jacob’s Ladder effect. The lightning bolt snaps back to a position along the start line after it has been pulled in a given direction. 1. Apply the Lightning effect to a clip. 2.
Color correction and adjustment Enhanced in Premiere Pro CC The new Lumetri Deep Color Engine integration in Premiere Pro CC lets you apply SpeedGrade color grades and sophisticated looks within Premiere Pro. You can use the new Lumetri Looks folder in the Effects panel to apply rich preset color grading effects easily. You can also use the Lumetri effect to locate exported .looks from SpeedGrade or LUTs from other systems. For more information, see Apply SpeedGrade color-correction within Premiere Pro.
You apply the Color Correction effects to a clip the same way you apply all Standard effects. The effect properties are adjusted in the Effect Controls panel. The Color Correction effects and other color effects are clip-based. However, you can apply them to multiple clips by nesting sequences. For information about nesting sequences, see Nest sequences. Jeff Sengstack explains how to analyze clips for tonality issues in this lynda.com tutorial -- Premiere Pro: Color Correction and Enhancement.
YC Waveform Displays the luminance (represented as green in the waveform) and chrominance (represented as blue) values in your clip. YCbCr Parade Displays waveforms representing levels of the luminance and color difference channels in the digital video signal. Users comfortable with viewing YUV waveforms might consider using this scope when making color and luminance adjustments. RGB Parade Displays waveforms representing the levels of the red, green, and blue channels in a clip.
To adjust color balance and saturation using color wheels, adjust the Hue Balance and Angle wheels or numeric controls in the Fast Color Corrector or Three-Way Color Corrector effect. See also Color balance, angle, and saturation controls. To adjust luminance or color using a curve control, use the curve adjustments in the Luma Curve or RGB Curves effect. See also Adjust color and luminance using curves.
To color balance by neutralizing a black area in the image, select the Black Balance eyedropper and click an area that’s supposed to be black. The Gray Balance control adjusts the sampled area to become a neutral gray and the Black Balance control adjusts the sampled area to become a neutral black. Like using the White Balance control, these adjustments affect all the colors in the clip.
(intensity). The intensity can be fine-tuned by moving the Balance Gain handle. Balance Gain Affects the relative coarseness or fineness of the Balance Magnitude and Balance Angle adjustment. Keeping the perpendicular handle of this control close to the center of the wheel makes the adjustment very subtle (fine). Moving the handle toward the outer ring makes the adjustment very obvious (coarse). Balance Angle Shifts the video color toward a target color.
to clips. 3. In the Effect Controls panel, click the triangle to expand the Fast Color Corrector or the Three-way Color Corrector controls. 4. (Optional) Select the Show Split View option if you want to view a before and after comparison of your adjustment in the Program Monitor. You can specify whether the split view is horizontal or vertical by choosing from the Layout menu. You can also adjust the relative proportion of the before and after views. 5.
shadows, midtones, and highlights. 7. Use the Saturation control to adjust the color saturation in the image. Moving the slider to the left (lower value) desaturates the colors. Moving the slider to the right (higher values) increases the color saturation.
As you make adjustments, watch carefully for banding, noise, or polarization in the image. If you notice any of these, reduce the value you are adjusting. Jeff Sengstack explains how to adjust color channels using RGB Color Corrector and RGB Curves effects in this lynda.com tutorial -Premiere Pro: Color Correction and Enhancement.
7. Use the Output Levels slider controls to set the maximum black and white levels: Black Output slider Controls the resulting output of the shadows. The default is 0, where the pixels are completely black. Moving the slider to the right specifies a lighter value for the darkest shadow. White Output slider Controls the resulting output of the highlights. The default is 255, where the pixels are completely white. Moving the slider to the left specifies a darker value for the brightest highlight.
Select a color with the Adobe Color Picker You can use the Adobe Color Picker to set target colors in some color and tonal adjustment effects. Clicking a color swatch in an effect’s controls opens the Adobe Color Picker. When you select a color in the Adobe Color Picker, it simultaneously displays the numeric values for HSB, RGB, HSL, YUV, and hexadecimal numbers. This is useful for viewing how the different color modes describe a color.
3. Do any of the following: Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum. Click or drag inside the large square color spectrum to select a color. A circular marker indicates the color's position in the color spectrum. Note: As you adjust the color using the color slider and color spectrum, the numeric values change to indicate the new color.
To the top Specify a color or range of colors to adjust The Secondary Color Correction property specifies the color range to be corrected by an effect. You can define the color by hue, saturation, and luminance. The Secondary Color Correction property is available for the following effects: Luma Corrector, Luma Curve, RGB Color Corrector, RGB Curves, and Three-way Color Corrector.
To the top Replace a color If you need more control than the Color Replace effect offers, use the Secondary Color Correction controls in the RGB Corrector, RGB Curves, and Three-way Color Corrector. These controls let you apply changes to a single color or a range of colors. 1. In a Timeline panel, select the clip you want to adjust so it appears in the Program Monitor. 2.
you can drag the slider. To the top Mix color channels in a clip 1. In the Effects panel, click the triangle to expand the Video Effects bin, and then click the triangle to expand the Adjust bin. 2. Drag the Channel Mixer effect to the clip in a Timeline panel. Note: If the clip is already selected in a Timeline panel, you can drag the Channel Mixer effect to the Video Effects section of the Effect Controls panel. 3.
To animate this effect, use the keyframe features in the Effect Controls panel. To the top Adjust edges, blurs and brightness using Convolution presets You can control the fine details of blurring, embossing, sharpening, and other effects by applying the Convolution Kernel effect or one of the convolution presets based on it. Convolution Kernel, and the presets based on it, overlays a matrix of numbers onto a matrix of pixels.
Lighting Effects: Original image (left), Spotlight applied to image (center), and Omnilight applied to image (right) 1. In the Effects panel, expand the Video Effects bin, expand the Adjust bin, and then drag the Lighting Effects onto a clip in a Timeline panel. If a clip is already selected in a Timeline panel, you can drag the Lighting Effects directly to the Video Effects section of the Effect Controls panel. 2. In the Effect Controls panel, click the triangle to expand the Lighting Effects. 3.
image. In the Program Monitor, you can also drag the light source point to adjust its distance from the Center circle. Minor Radius Adjusts the width of a Spotlight. Once the light becomes a circle, increasing the Minor Radius also increases the Major Radius. You can also drag one of the handles in the Program Monitor to adjust this property. Angle Changes the direction of a Directional light or Spotlight. Adjust this control by specifying a value in degrees.
5. (Optional) Click the triangle next to Light 1 to adjust the light’s properties. 6. Choose the video track containing the bump layer from the Bump Layer menu. 7. From the Bump Channel menu, specify whether to use the bump layer clip’s red, green, blue, or alpha channel to create the lighting effects texture. 8. Select the White Is High option to raise the white parts of the channel from the surface. Deselect this option to raise the dark parts. 9.
Working with audio transitions Specify the default audio transition Set the default duration for audio transitions Crossfade between audio clips Fade in or fade out clip audio Adjust or customize an audio transition You can apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. To fade in or fade out, you add a crossfade transition to either end of a single clip.
To add the default audio transition, move the current-time indicator to the edit point between the clips, and choose Sequence > Apply Audio Transition. To add an audio transition other than the default, expand the Audio Transitions bin in the Effects panel and drag the audio transition to a Timeline panel, on the edit point between the two clips you want to crossfade. To the top Fade in or fade out clip audio 1. Make sure that the audio track is expanded in a Timeline panel.
Audio effects and transitions Audio effects Audio crossfade transitions For video effects, see Effects and transitions reference. To the top Audio effects Balance effect The Balance effect lets you control the relative volumes of the left and right channels. Positive values increase the proportion of the right channel; negative values increase the proportion of the left channel. This effect is available for stereo clips only.
Bypass Keyframeable option that specifies whether to apply or bypass the Chorus effect. Custom Setup Opens a mixer-style control panel that controls the properties with knobs. Individual Parameters Opens a set of parameter controls for the Chorus effect. LfoType Specifies wave type of Low Frequency Oscillator: Sin(e), Rect(angle), or Tri(angle). Rate Determines the maximum rate at which amplitude changes occur.
Threshold Determines the detection level for the crackles. This control ranges from 0 to 100%. Reduction Determines the amount by which the crackles will be reduced. This control ranges from 0 to 100%. Efficiency meter This meter indicates the efficiency of the DeCrackler. The Threshold dial should be tweaked to get the maximum value. Please be aware that the maximum will also be reached when the threshold is very low, but at this point the fundamental audio signal will be harmed.
tape recordings. This effect is available for 5.1, stereo, or mono clip. Noisefloor Specifies the level (in decibels) of the noise floor as the clip plays. Freeze Stops the noise floor estimation at the current value. Use this control to locate noise that drops in and out of a clip. Reduction Specifies the amount of noise to remove within a range of –20 to 0 dB. Offset Sets an offset value between the automatically detected noise floor and the value defined by the user.
Ratio Sets the rate at which signals are expanded, up to 5:1. For example, if the ratio is 5:1, a level decrease of 1 dB is expanded by 5 dB, resulting in a much faster decrease of the signal. Limiter Reduces clipping in audio clips that contain peaks in the signal. For example, by leveling out peaks that exceed 0 dB in an audio file, the overall level of the audio doesn’t have to be reduced below 0 dB to avoid clipping.
Rate Specifies the speed of the Low Frequency Oscillator. Depth Determines the gain level of the modulation waveform, thus controlling the depth of the effect. Mix Adjusts the mix of original (Dry) and flanged (Wet) signal. You need some of both signals to achieve the characteristic cancellation and reinforcement that occurs during flanging. With Original at 100%, no flanging occurs at all. With Delayed at 100%, the result is a wavering sound, like one coming from a bad tape player.
Attack 1-3 Specifies the time (between 0.1 and 10 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. Multitap Delay effect The Multitap Delay effect adds up to four echoes of the original audio in the clip. This effect is available for 5.1, stereo, or mono clips. Delay 1-4 Specifies the amount of time between the original audio and its echo.
Depth Determines the gain level of the modulation waveform, and thus controls the depth of the effect. Ranges from 0 to 100%. Delay To achieve a variety of possible effects, the phase-shifted signal will be delayed against the original signal. The Delay property sets the time for the delay. Ranges from 0.1 to 4.0 ms. Feedback Determines the amount of phase-shifted signal that will be mixed to the input signal. Using negative values will invert the phase again by 180 degrees. Ranges from -50 to 50.
Freq (1-3) Determines the center frequency of each of the notch filters. Reduction (1-3) Sets the input gain level at which the color red appears in the meter for a given track. Filter (1-3) Activates the corresponding filter bank. MaxLevel Determines the gain reduction of each notch filter, thus controlling the amount of noise removed from the signal. CursorMode Activates the adjustment of the filter frequency by the cursor.
Exponential Fade fades out the first clip over a smooth logarithmic curve while fading up the second clip, also over a smooth logarithmic curve. Selecting an option from the Alignment control menu, you can specify the positioning of the transition. Note: Though the Exponential Fade transition is similar to the Constant Power transition, it is more gradual. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Applying, removing, finding, and organizingeffects Find and group effects Apply effects to clips Copy and paste clip effects Remove selected effects from a clip Remove all effects from a clip Disable or enable effects in a clip To the top Find and group effects Standard effects are listed in the Effects panel and are organized into two main bins, Video Effects and Audio Effects. Within each bin, Premiere Pro lists effects by type in nested bins.
Remove a Custom bin 1. In the Effects panel, select a Custom bin and do one of the following: Click the Delete Custom Items button . Choose Delete Custom Items from the Effects panel menu. Press Delete. Press Backspace. Note: You can remove Custom bins only from the Effects panel. 2. Click OK. To the top Apply effects to clips You can apply one or more Standard effects to a clip by dragging effect icons from the Effects panel to a clip in a Timeline panel.
If the effect includes keyframes, these keyframes appear at comparable positions in the target clip, starting at the beginning of the clip. If the target clip is shorter than the source clip, keyframes are pasted beyond the target clip Out point. To view these keyframes, move the clip Out point to a time later than the location of the keyframe, or deselect the Pin To Clip option. Note: You can also copy and paste keyframes from one effect parameter to another compatible effect parameter.
To the top Disable or enable effects in a clip Select one or more effects in the Effect Controls panel, and do one of the following: Click the Effect button to disable effects. Click an empty Effect button box to enable effects. Deselect or select the Effect Enabled command in the Effect Controls panel menu. You can create a custom keyboard shortcut for the Effect Enabled command. This will toggle an effect on and off. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Applying effects to audio Applying audio effects in the Audio Mixer Apply a track effect in the Audio Mixer Adjust audio track effects in a Timeline Copy and paste track effects Designate a track effect as pre-fader or post-fader Remove or bypass a track effect in the Audio Mixer Working with VST effects Adjust a VST effect in a VST Editor panel Select a preset for a VST effect Premiere Pro includes VST (Virtual Studio Technology) audio plug-ins designed to alter or enhance the properties of audio clips.
Contribute your expertise to Adobe Community Help Using Audio Effects in Premiere Pro There are 2 different ways to add effects to audio in Premiere Pro. Karl Soule’ walks through both techniques, and when to use each technique.... Read More by Karl Soule’ http://blogs.adobe.com/Vid... Contribute your expertise to Adobe Community Help http://tv.adobe.com/watch/short-and-suite/usi...
Apply a track effect in the Audio Mixer 1. (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left of the Audio Mixer. 2. In the track that you want to apply an effect, click the Effect Selection triangle and choose an effect from the menu. Consider planning the order of track effects before applying them because you can’t drag an effect to a different position in the Effects And Sends panel. 3.
In the Effects And Sends panel of the Audio Mixer, right-click (Windows) or Control-click (Mac OS) an effect and choose Pre-Fader or PostFader. To the top Remove or bypass a track effect in the Audio Mixer In the effects list in the Audio Mixer, do one of the following: To remove a track effect, click the triangle to the right of the effect you want to remove, and choose None. To bypass a track effect, click the Effects Bypass button near the bottom of the effects list until it appears with a slash.
3. Double-click the effect name. The VST editor panel opens. This panel can be docked or grouped like any other panel. 4. In the VST editor window, specify the options. Note: The option controls for VST plug-in effects are also available at the bottom of the Effects And Sends panel.
Animation and keyframes 526
Optimize keyframe automation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance. To avoid creating unnecessary keyframes, thereby ensuring both quality interpretation and minimal performance degradation, set the Automation Keyframe Optimization preference. In addition to the other benefits, you can edit individual keyframes much easier if they are assembled less densely in the track. 1.
Moving and copying keyframes Move keyframes in time Determine keyframe snapping Copy and paste keyframes To the top Move keyframes in time Note: The first keyframe always uses the Start Keyframe icon and the last keyframe always uses the End Keyframe icon . Use Selection Tool or Pen Tool to do one of the following: In a Timeline panel, select one or more keyframes and drag to the desired time. In the Effect Controls panel, select one or more keyframe markers and drag to the desired time.
2. Select one or more keyframes. 3. Choose Edit > Copy. 4. Do one of the following: Move the current-time indicator to where you want the first keyframe to appear and choose Edit > Paste. Select another clip, expand the appropriate property in the Effect Controls panel, move the current-time indicator to where you want the first keyframe to appear, and choose Edit > Paste. You can also copy a keyframe by dragging.
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Controlling effect changes using keyframe interpolation javax.jcr.AccessDeniedException: /content/help/en/premierepro/using/controlling-effect-changes-usingkeyframe/jcr:content/jcr:title: not allowed to add or modify item About interpolation Change the keyframe interpolation method Control change using Bezier keyframe interpolation Fine-tune the speed of an effect To the top About interpolation Interpolation is the process of filling in the unknown data between two known values.
Changing keyframe interpolation for the Position property of the Motion effect A. Linear spatial keyframe B. Auto Bezier interpolation C. Continuous Bezier interpolation 1. Do one of the following: In the Effect Controls panel, right-click a keyframe marker. In a Timeline panel, right-click a keyframe. 2. Choose an interpolation method from the context menu: Linear Creates a uniform rate of change between keyframes.
Timeline panel, the Effect Controls panel, or the Program Monitor. Create Bezier keyframes 1. In a Timeline panel, select the clip containing the keyframes you want to adjust, and then do one of the following: (Timeline panel) Choose the property you want to adjust from the effect menu next to the clip or track name. You adjust the temporal interpolation of a property in a Timeline panel. Select the clip in the Program Monitor if you want to change the spatial interpolation there.
Velocity graph A. Speed controls B. Incoming direction handles C. Outgoing direction handles 1. In the Effect Controls panel, click the triangle to expand the effect property with keyframes that you want to adjust. Note: If no keyframes have been added, the graphs appear as flat lines. 2. In the Value graph, use the Selection or Pen tool to click the keyframe marker for the keyframe you want to adjust. This displays the direction handles and speed controls for the keyframe in the Velocity graph. 3.
Animating effects About animating effects About keyframes Working with keyframes To the top About animating effects Although commonly used to mean “move a figure across the screen,” we use the word animate here to mean “change an attribute through time.” In this sense, moving a clip move from one corner of the screen to another over a few seconds animates its position. Changing it from sharp to blurry over a few seconds animates its sharpness.
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Adding, navigating, and setting keyframes View keyframes and graphs Move the current-time indicator to a keyframe Add, select, and delete keyframes Modify keyframe values To animate a property is to change its value over time. In Premiere Pro, effect properties can be animated by assigning keyframes to them. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated.
Effect Controls A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip. For audio effects, a Timeline panel can also display the keyframes for an entire track. Each clip or track can display a different property.
2. For a video track, click the Show Keyframes button , and choose any of the following from the menu: Show Keyframes Displays the graph and keyframes of any video effect applied to clips in the track. An effect menu appears next to the clip name so you can choose the effect you want to view. Show Opacity Handles Displays the graph and keyframes of the Opacity effect for each clips in the track. Hide Keyframes Hides the graphs and keyframes for all clips in the track. 3.
Choosing from the effects menu 7. Place the pointer directly over a keyframe to view its property in a tool tip. The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel. Use this information for making precise keyframe placements. You can quickly note the value you’ve set for a keyframe. You can also quickly compare the location and change in value of two or more keyframes.
You can add keyframes in the Timeline or the Effect Controls panel at the current time. Use the Toggle Animation button in the Effect Controls panel to activate the keyframing process. Note: To create keyframes in a track or on a clip, it is not necessary to enable keyframe display. 1. In a Timeline panel, select the clip that contains the effect you want to animate. 2. If you want to add and adjust keyframes in a Timeline panel, make keyframes visible for the video or audio track.
Do any of the following: To select a keyframe, use the Selection tool or the Pen tool to click the Keyframe icon in the Timeline panel. To select multiple keyframes, Shift-click with the Selection tool or the Pen tool to select multiple contiguous or noncontiguous keyframes in a Timeline panel. Note: When you position the Selection or Pen tool over a keyframe, the pointer appears with a Keyframe icon .
Effect property’s value and velocity graphs A. Keyframe marker B. Level graph indicating unchanged value C. Rising graph indicating increasing value D. Falling graph indicating decreasing value E. Keyframe F. Value graph G. Velocity graph 1. In a Timeline panel, select a clip containing an effect containing keyframes you want to adjust. 2. In the Effect Controls panel, click the triangle to expand the controls for the effect. 3.
Drag a keyframe or segment up or down to change the value. As you drag, a tool tip indicates the current value. If no keyframes are present, dragging adjusts the value for the entire clip or track. Drag a keyframe left or right to change the time location of the keyframe. As you drag, a tool tip indicates the current time. If you move a keyframe onto another keyframe, the new keyframe replaces the old one.
Compositing 545
Compositing, alpha channels, and adjustingclip opacity Alpha channels and mattes About keying Specify clip opacity in a Timeline panel Compositing tips Adobe After Effects, another program in Adobe Creative Suite Production Premium, gives you a greatly expanded range of compositing tools. You can easily import composites made in After Effects into Premiere Pro. To create a composite from multiple images, you can make parts of one or more of the images transparent so that other images can show through.
Alpha channels store transparency information in files in one of two ways: straight or premultiplied. Although the alpha channels are the same, the color channels differ. With straight (or unmatted) channels, transparency information is stored only in the alpha channel, not in any of the visible color channels. With straight channels, the effects of transparency aren’t visible until the image is displayed in an application that supports straight channels.
Select the Selection tool, and drag the opacity control rubber band up or down. Select the Pen tool, and drag the opacity control rubber band up or down. The opacity value and current time appear as a tool tip as you drag. 4. (Optional) To animate the Opacity effect over time, first set keyframes. Select the Pen tool. Ctrl-click (Windows) or Command-click (Mac OS) on the opacity control rubber band with the Pen tool wherever you want to set a keyframe. Then drag each keyframe up or down to set its value.
Blending modes Blend mode reference You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks. For more information about the Subtract and Divide blend modes, see this video by Video2Brain. Chris and Trish Meyer explain and demonstrate blending modes in Premiere Pro in an article on the ProVideo Coalition website. See Andrew Devis' tutorial on Creative Cow, “Color Correction 5: Blend Modes.
HSL category Hue, Saturation, Color, Luminosity. These blend modes transfer one or more of the components of the HSL representation of color (hue, saturation, and luminosity) from the underlying color to the result color. Blending mode descriptions In the following descriptions, these terms are used: The source color is the color of the layer to which the blend mode is applied. The underlying color is the color of the composited layers below the source layer in the Timeline panel.
Overlay Multiplies or screens the input color channel values, depending on whether or not the underlying color is lighter than 50% gray. The result preserves highlights and shadows in the underlying layer. Soft Light Darkens or lightens the color channel values of the underlying layer, depending on the source color. The result is similar to shining a diffused spotlight on the underlying layer.
Exporting 552
Workflow and overview for exporting Types of exporting Adobe Media Encoder Workflow for exporting video and audio files Community resources: FAQ: "How do I export a movie for YouTube, Vimeo, iPad, iPhone, Apple TV?" FAQ: What’s the best export format or codec? Jeff Bellune provides an overview of the ways to export video from Premiere Pro on his website. Exporting to DVD is done with Adobe Encore. For information about exporting a DVD of your program, see Exporting to DVD or Blu-ray Disc.
can trim Premiere Pro projects down to their essentials and ready them, with or without their source media, for archiving. Export formats for various devices and web sites Finally, using the Adobe Media Encoder, you can export video in formats suitable for devices ranging from professional tape decks to DVD players to video-sharing web sites to mobile phones to portable media players to standard- and high-definition TV sets.
Click Queue. Adobe Media Encoder opens with the encoding job added to its queue. Click Export. Adobe Media Encoder renders and exports the item immediately. By default, Adobe Media Encoder saves the exported file in the folder where the source file is located. Adobe Media Encoder appends the extension for the format specified to the end of the filename. You can specify watched folders for various types of exported files. Note: You cannot export a movie file into an HDV format file.
Exporting to DVD or Blu-ray Disc Choosing file formats for various discs Send a sequence to Encore to create a DVD, Blu-ray Disc, or SWF You can export sequences or portions of sequences in files formatted for authoring and burning to DVD and Blu-ray Disc. Alternately, you can export to Encore for authoring a DVD or Blu-ray Disc with menus, or direct burning to disc without menus.
The sets of options available in the Settings area and on the Advanced tab depend on whether Blu-ray or DVD is the authoring mode. Note: The authoring mode can be changed at any time in Encore, in the Project Settings dialog box. 8. (Optional) Click Advanced, and select the desired transcoding settings. 9. Click OK. The Encore Project panel contains the dynamically linked Premiere Pro project and sequence. 10. Finish authoring and exporting in Encore.
Smart rendering When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible. In previous versions of Premiere Pro, smart rendering has been available for DV and DVCPro formats. In Premiere Pro, smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file.
Working with Adobe SpeedGrade Enhanced in Premiere Pro CC Direct-Link workflow between Premiere Pro and SpeedGrade Roundtrip workflow between Premiere Pro and SpeedGrade Video tutorial: Color grading Premiere Pro sequences in SpeedGrade Apply SpeedGrade color-correction within Premiere Pro Send a sequence to SpeedGrade Send an EDL to SpeedGrade Adobe® SpeedGrade® is a color grading application that brings advanced color-grading capabilities to your footage.
For more information on the editing and grading workflow between SpeedGrade and Premiere Pro, see this article. Important notes Send to SpeedGrade exports a SpeedGrade project file (.ircp) and a series of DPX sequences in folders, representing segments in the Premiere sequence, with no "handles". For cuts-only edits, each clip is sent as a separate DPX sequence.
Working with Adobe Prelude You can use Adobe® Prelude™ to ingest clips, transcode footage, create subclips markers and rough cuts, and then import that data into Adobe® Premiere® Pro. You can use Prelude’s clip naming and metadata features to quickly create subclips, build a rough-cut assembly, and send it to Premiere Pro as a sequence for immediate editing. You can then export rough cuts, clips, subclips, and bins from Prelude to an Adobe Premiere Pro project for editing.
Export a still image For a video demonstrating the export of a frame, see the Adobe website. in the Source Monitor and Program Monitor enable you to quickly export frames of video without using the Adobe The Export Frame buttons Media Encoder. This is sometimes called a frame grab. Note: The Export Frame button does not appear by default. You can add it from the button editor. For information about adding buttons to the button bar, see Customizing the monitor panel button bar. 1.
Formats exported directly from Premiere Pro javax.jcr.AccessDeniedException: /content/help/en/premierepro/using/formats-exported-directly-premiere-pro/jcr:content/jcr:title: not allowed to add or modify item In addition to the file formats exported by Adobe Media Encoder, Premiere Pro exports several file formats directly.
Export to Panasonic P2 format When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB. When Premiere Pro exports clips or sequences larger than 4 GB to P2 format, it exports them as groups of 4 GB spanned clips. For more information about clip spanning, see About spanned clips.
Adobe Media Encoder adds the sequence or clip to the CONTENTS folder of the disk or P2 card. Adobe Media Encoder adds the video MXF file to the VIDEO folder, and the audio MXF file to the AUDIO folder. Adobe Media Encoder adds the icon file to the ICON folder, and the metadata XML file to the CLIP folder. Adobe also recommends Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Exporting for the Web and mobile devices Moving assets between Adobe Premiere Pro and Adobe Flash Tips for creating FLV and F4V files Tips for creating video for mobile devices You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices. In Export Settings, select an H.264 format preset made for the target device.
When you deliver video over the Internet, produce files at lower data rates. Users with fast Internet connections can view the files with little or no delay for loading, but dial-up users must wait for files to download. Make the clips short to keep the download times within acceptable limits for dial-up users. Select the proper frame rate Frame rate indicates frames per second (fps). If you have a higher data rate clip, a lower frame rate can improve playback through limited bandwidth.
televisions. Even with a small window, image quality can be as important for digital video as for HDTV. Artifacts and noise are at least as obvious on a computer screen as on a television screen. FLV files, F4V files, and SWF files are intended for progressive display on computer screens and other devices. Interlaced displays such as TVs do not typically play FLV or F4V files. Interlaced footage viewed on a progressive display can exhibit alternating vertical lines in high-motion areas.
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Exporting to videotape Prepare for exporting to DV videotape Export a sequence to tape with device control Export a sequence to tape without device control You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape. When you start a new sequence, you specify the format and quality for the videotape in the Editing Mode area of the New Sequence dialog box.
DV 23.976i Specifies DV 24p (24 progressive) or 24pA (24 progressive advanced), which uses a timebase of 23.976 and interlaced fields (that become progressively scanned frames using a pulldown scheme). 5. Select a 24p conversion method. 6. Close other programs that might be running on your computer. Your computer is now ready to export your sequence directly to tape.
6. Click Record, or, for HDV devices click Render And Record. If exporting to an HDV device, a rendering dialog box will open with a progress bar showing the progress of the transcode to HDV. Typically, export to tape will begin when transcoding is about 50% done. 7. If you don’t need to perform any more recordings after the Recording Successful message appears in the Status option, click Cancel to close the Export To Tape dialog box.
Exporting projects for other applications Export a project as an EDL file Exporting AAF files Export a Final Cut Pro project XML file To the top Export a project as an EDL file You can export a data file that describes the project and enables you to recreate it either with related media or by using another editing system. With Premiere Pro you can export your project as an edit decision list (EDL) in the CMX3600 format. This format is the most widely accepted and most robust of the EDL formats.
been tested with other AAF importers. Transitions should appear only between two clips, not adjacent to the beginning or end of a clip. Each clip must be at least the same length as the transition. If a clip has a transition at both its In and Out points, the clip must be at least the same length as both transitions combined. When naming clips and sequences in Premiere Pro, avoid using special characters, accented characters, or characters that affect the parsing of an XML file.
Graphic files The plug-in saves a reference to all original files, but compatibility in Avid Media Composer is limited to the formats that it supports. (See the Avid Media Composer documentation for information on supported graphic file formats.) Project elements The plug-in converts synthetic clips, such as Bars and Tone, Black Video, Color Matte, and Universal Counting Leader to offline media in XDV.
Exporting OMF files for Pro Tools Export an OMF file for Pro Tools Features supported in OMF files Tips for importing OMF files into Pro Tools You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open Media Format (OMF) file. DigiDesign Pro Tools imports OMF files, when the DigiTranslator feature is licensed. With DigiTranslator in Pro Tools, you can sweeten soundtracks from Premiere Pro.
Features supported in OMF files On export to OMF, Premiere Pro exports files with the following attributes and metadata: Note: Premiere Pro applies only the effects listed, on export to OMF. Also, since OMF values are clip-based, Premiere Pro does not export most track-based values to OMF. Sample accurate exports Premiere Pro places all transitions and keyframe points on audio sample boundaries. Video frame boundaries do not constrain these locations.
In the DigiTranslator dialog box: Deselect Pan Odd Tracks Left/Even Tracks Right. For automatic gain control, select Convert Clip Based Gain To Automation. Leave Sample Rate Conversion deselected, unless you need sample rate conversion. In the Missing Files dialog box: Change the default setting to Manually Find And Relink, and press OK. Deselect all options. Navigate to the ExternalMediaFiles folder and select it.
