Adobe® Premiere® Pro CC Help
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iii Contents Chapter 1: What's New New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Chapter 2: Workspace and workflow Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv PREMIERE PRO Contents Render and replace media Finding assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Chapter 6: Monitoring assets Playing assets .
v PREMIERE PRO Contents Working with text and objects in titles Add images to titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Drawing shapes in titles . . . . . . . . . . . . . . . . . .
vi PREMIERE PRO Contents Exporting OMF files for Pro Tools Smart rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: What's New New features summary December 2014 GoPro CineForm codec support enhancements Removal of Speech Analysis Other enhancements October 2014 Updated user interface with HiDPI support Powerful search enhancements Enhanced media management GoPro CineForm codec support Masking and Tracking refinements Improved Master Clip effects Editing experience enhancements Other enhancements Changes to keyboard shortcuts GoPro CineForm codec support enhancements (Windows) Support for QuickTime previ
2 What's New 4 (Optional) Save a preset for each combination of height-and-width and frame rate that you commonly use. GoPro CineForm export enhancements Earlier, there was a mismatch between the preset labels in the Export Settings dialog and the applied encoding. This issue is now corrected. You can choose between 10-bpc YUV and 12-bpc RGBA presets, and the GoPro CineForm encoder resamples the frames to 10-bit YUV or 12-bit RGBA as appropriate. In addition, 10-bit YUV import support is also added.
3 What's New For a complete list of known issues and bugs that are fixed in the December 2014 release of Premiere Pro CC, see this blog post. Updated user interface with HiDPI support The latest update to Premiere Pro CC welcomes you with a noticeably cleaner and modernized user interface. The user interface provides HiDPI support for Apple's Retina displays and Windows 8.1 displays. Modernized user interface The modernized user interface provides cleaner visuals that let you focus more on the content.
4 What's New Menu items for a monitor or panel that were available from the pop-up menu are now grouped together and available under Settings. Or some of the menu items are available from the panel menu. • To access Settings, click the wrench icon display all the available menu items. in the Timeline header, Source Monitor, or Program Monitor panels to • To open a panel menu, right-click (Win) or Ctrl-click (Mac) a panel.
5 What's New Multi-project workflows Editors often access multiple projects at the same time to import and edit media simultaneously. Premiere Pro introduces a new multi-project workflow that lets you browse media and sequences from other projects and import them directly in your current project. You can edit or reuse clips, cuts, and transitions from previous projects and edit directly in your current project.
6 What's New Source Monitor Timeline view Premiere Pro lets you open and view sequences from an unopened project without importing the sequence into your current project. Using the Media Browser, navigate to the project containing the sequence, and double-click the sequence to open. The new Source Monitor Timeline view opens a second Timeline that displays the contents of the sequence in read-only mode.
7 What's New Masking and Tracking refinements The new refinements in Masking and Tracking provide you a new free-draw polygon Pen tool complex mask shapes. that lets you create You can convert any mask control point into a Bezier control point in a single click, and the Bezier handles let you create smoother, precise curves. In addition, there are new masking controls that let you adjust feathering and expansion directly on the Program Monitor. For more information, see Masking and Tracking.
8 What's New For more information, see Monitor overlays. Audio-only clips displayed in SMPTE in monitor overlays Previously, audio-only clips without embedded timecode were displayed as samples in monitor overlays. Now, when you set your monitor to display in Source Timecode setting, audio-only clips are also displayed in SMPTE. Sequence Timecode overlay The overlays in the Source and Program Monitors now have a new option to display sequence timecode. For more information, see Monitor overlays.
9 What's New Premiere Pro lets you select multiple sequence markers at once by pressing shift and clicking the marker icons. You can then move or delete the selected markers as required. Handling unsupported XMP metadata Certain file formats do not support writing XMP metadata directly into media files. When a media type does not support writing XMP, Premiere Pro generates a generic sidecar file and saves it alongside the original media file. 5.1 audio channel layout changes The 5.
10 What's New Support for iXML audio workflows Premiere Pro supports reading and modifying audio files with iXML metadata. iXML metadata is typically captured by audio recording devices or on-location audio recording software such as Metacorder for Mac. An important feature of iXML metadata is the ability to select and mark the best takes, and record on-set notes. iXML is an open standard for location sound metadata.
11 Chapter 2: Workspace and workflow Workspaces About workspaces Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Project, Metadata, and Timeline), you move and group panels in the same way across products. The main window of a program is the application window. Panels are organized in this window in an arrangement called a workspace.
12 Workspace and workflow Import a workspace with a project Workspace selections and customizations made in a project are saved in the project file. By default, Premiere Pro opens projects in the current workspace. However, you can instead open a project in the workspace last used with it. This option is particularly helpful if you often rearrange the workspace for each project. If you import a project and the workspace is empty, close the project. Deselect Import Workspace From Projects.
13 Workspace and workflow 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. • To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone. The application docks or groups the panel, according to the type of drop zone.
14 Workspace and workflow 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.
15 Workspace and workflow Open, close, and scroll to panels When you close a panel group in the application window, the other groups resize to use the newly available space. When you close a floating window, the panels within it close, too. • 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.
16 Workspace and workflow Note: You cannot delete the currently active workspace. 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.
17 Workspace and workflow • To activate panels in rotation to the left, press Ctrl+Shift+, (comma) (Windows), or Control+Shift+, (comma) (Mac OS). Kevin Monahan provides instructions and keyboard shortcuts for activating panels in this blog post. Display any panel full-screen You can expand any panel to display it in full-screen mode, and toggle back to normal view. You can do so with the current panel in focus or the panel you are hovering over with your mouse.
18 Workspace and workflow Tools When you select a tool, the pointer changes shape according to the selection. For example, when you select the Razor . However, the Selection tool and position the pointer over a clip in a Timeline panel, the icon changes to a razor tool icon can change to reflect the task currently being performed. In some cases, pressing a modifier key (such as Shift) as you use a tool changes its function, and its icon changes accordingly.
19 Workspace and workflow Slide Tool Select this tool to move a clip to the left or right in a Timeline while simultaneously trimming the two clips that surround it. The combined duration of the three clips, and the location of the group in the Timeline, remain unchanged. For more information about using the Slide Tool, see Make slip and slide edits or this video about the Slide Tool by Andrew Devis. Pen Tool Select this tool to set or select keyframes, or to adjust connector lines in a Timeline.
20 Workspace and workflow The Info panel displays timecode for the current selection and for all track items under the current-time indicator. When the playhead crosses a blank area in the timeline, no timecode value is displayed for that track, but the track label remains visible and undimmed. The vertical stack layout of the timecodes is easily correlated with the physical layout of the tracks in the sequence.
21 Workspace and workflow A Time code B Zoom scroll bar C Scaling options D Playhead E Drag video F Drag audio G Resolution H Settings button I Button editor 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.
22 Workspace and workflow 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. Click "+" at the lower right of a monitor to open the button editor. Add buttons to the button bar by dragging them from the button editor. Up to 2 rows of buttons can be added. Spaces to separate groups of buttons can also be dragged to the button bar. To remove a button, drag it away from the button bar.
23 Workspace and workflow Change magnification The Source Monitor and Program Monitor scale video to fit into the available area. You can increase the magnification setting for each view to see the video in more detail. You can also descrease the magnification setting to see more of the pasteboard area around the image (to adjust motion effects more easily, for example).
24 Workspace and workflow • The Source menu lists master clips by name. Clips opened from a sequence are listed by their sequence name, clip name, and starting time in the sequence. 2 To clear a clip from the Source Monitor, in the Source menu, choose Close to clear or Close All to clear all clips. You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab.
25 Workspace and workflow 4 Click OK. 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 Duration display Time rulers Display the duration of a clip in the Source Monitor and sequence in the Program Monitor.
26 Workspace and workflow 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.
27 Workspace and workflow Choose fields in the Source and Program Monitors You can set the Source Monitor and Program Monitor to display the first field, second field, or both fields for interlaced footage. The settings in the Source Monitor are disabled when a progressive clip is opened in it. The settings in the Program Monitor are disabled when the active sequence uses a progressive sequence preset. 1 In the Source Monitor or Program Monitor, click the panel menu button .
28 Workspace and workflow To use the waveform monitor and vectorscope displays most effectively, view them with the Reference Monitor ganged to the Program Monitor. See Reference Monitor . 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.
29 Workspace and workflow 2.Capture and import video and audio For file-based assets, using the Media Browser you can import files from computer sources in any of the leading media formats. Each file you capture or import automatically becomes a clip in the Project panel. Alternatively, using the Capture panel, capture footage directly from a camcorder or VTR. With the proper hardware, you can digitize and capture other formats, from VHS to HDTV.
30 Workspace and workflow 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. As with any clip, you can edit, fade, animate, or add effects to the titles in a sequence. (See Creating and editing titles.) 5.
31 Workspace and workflow Edit a clip in its original application In Premiere Pro, the Edit Original command opens clips in the applications associated with their file types. You can edit clips in the associated applications. Premiere Pro automatically incorporates the changes into the current project without replacing files. Similarly, Premiere Pro sequences placed in other applications, such as Adobe After Effects can be opened with the host product’s Edit Original command.
32 Workspace and workflow Results of pasting into Premiere Pro When you paste a layer into an Adobe Premiere Pro sequence, keyframes, effects, and other properties in the copied layer are converted as follows: After Effects item Converted to in Adobe Premiere Pro Notes Audio volume property Channel Volume filter Blending modes Blending modes supported by Adobe Premiere Pro are converted Effect properties and keyframes Effect properties and keyframes, if the effect also exists in Adobe Premiere Pro
33 Workspace and workflow Results of pasting into After Effects When you paste an asset into an After Effects composition, keyframes, effects, and other properties in a copied asset are converted as follows: Adobe Premiere Pro asset Converted to in After Effects Notes Audio track Audio layers Audio tracks that are either 5.1 surround or greater than 16-bit aren’t supported. Mono and stereo audio tracks are imported as one or two layers.
34 Workspace and workflow In Photoshop, with the Clone Stamp, you can sample a frame from a video layer and paint with the sampled source onto another video frame. As you move to different target frames, the source frame changes relative to the frame from which you initially sampled. After making edits, you can save the video as a PSD file, or you can render it as a QuickTime movie or image sequence. You can import any of these back into Premiere Pro for further editing.
35 Workspace and workflow You can no longer exchange PSD video files with Photoshop, however, you can render a movie directly from Photoshop and then import it back into Premiere Pro. For example, you can create a QuickTime movie from Photoshop that can then be imported into Premiere Pro. Color Premiere Pro works internally with colors in an RGB (red, green, blue) color space. If you want to edit video clips you create in Photoshop in Premiere Pro, create the clips in RGB.
36 Workspace and workflow 2 Drag the scene that you want to attach from the Adobe Story panel and drop it on the required clip in the Project panel. For an overview of all the features in Adobe Story, see this video. Working with Encore and Premiere Pro 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. First, add all the content you want to include on a disc into a sequence.
37 Workspace and workflow Preview the 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.
38 Workspace and workflow About Dynamic Link In the past, sharing media assets among post-production applications required you to render and export your work from one application before importing it into another. This workflow was inefficient and time-consuming. If you wanted to change the original asset, you rendered and exported the asset again. Multiple rendered and exported versions of an asset consume disk space, and they can lead to file-management challenges.
39 Workspace and workflow When you create a dynamically linked After Effects composition, the composition duration is set to 30 seconds. To change the duration, select the composition in After Effects, choose Composition > Composition Settings. Click the Basic tab, and specify a new value for Duration. Link to an existing composition For best results, match composition settings (such as dimensions, pixel aspect ratio, and frame rate) to the settings in the Adobe Premiere Pro project.
40 Workspace and workflow 2 Right-click any of the selected clips. 3 Select Replace With After Effects Composition. Offline compositions and Dynamic Link Adobe Premiere Pro display dynamically linked compositions as offline in any of the following circumstances: • You’ve renamed, moved, or deleted the After Effects project that contains the composition. • You’ve purposely taken the composition offline. • You’re working with a project trimmed by the Adobe Premiere Pro Project Manager.
41 Workspace and workflow To achieve optimal performance when using Direct Link, use an NVIDIA CUDA graphics card with GPU acceleration on Windows. For more information about Adobe-certified NVIDIA graphics cards, see the Tech specs. Edit and grade Premiere Pro sequences with Direct Link The Direct Link workflow lets you roundtrip Premiere Pro projects between editing and grading without timeconsuming or complex tasks like rendering and conforming.
42 Workspace and workflow Step 5: Color grade the sequence using grading and mask tools Within SpeedGrade, you can color grade the sequence using Looks and Masks. The Looks that you apply in SpeedGrade will appear as Lumetri presets when you reopen the sequence in Premiere Pro. If a Lumetri Look has already been applied in Premiere Pro, it's available in the SpeedGrade Timeline, where you can adjust its parameters.
43 Workspace and workflow The color graded sequence opens in Premiere Pro with all color grading fully intact. Color grading and masks applied in SpeedGrade are visible in Premiere Pro as Lumetri effects. In Premiere Pro, you can turn these Lumetri effects on or off for each clip and for each adjustment layer individually using the Effects Controls panel. You continue editing or export your sequence for final output in Premiere Pro.
44 Workspace and workflow To relink the offline media, you must bring the the project back to Premiere Pro.
45 Workspace and workflow 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.
46 Workspace and workflow • For Mac OS: /Users/Library/Preferences/com.adobe.AdobePremierePro.plist This excerpt from the Adobe Premiere Pro Classroom in a Book explains how to set up projects, sequences, and preferences when getting started with Premiere Pro. See Selecting Settings, Adjusting Preferences, and Managing Assets in Adobe Premiere Pro.
47 Workspace and workflow Appearance preferences In the Appearance pane of the Preferences dialog box, you can set the overall brightness of the user interface. Audio Preferences Automatch Time The Automatch Time preference specifies the time, in the Audio Mixer, for any control that has been adjusted to return to its previous setting. Affected controls are Volume, Pan, Effect and Send parameter knobs in Audio, Submix and (except sends) Master track.
48 Workspace and workflow 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 from 1 through 2000 milliseconds. Large Volume Adjustment This preference lets you set the number of decibels to increase when using the Increase Clip Volume Many command.
49 Workspace and workflow Capture preferences Controls how Premiere Pro transfers video and audio directly from a deck or camera. (None of the other project settings options affect capturing.) The contents of this panel depend on the editing mode. If you’re capturing DV footage, use the default DV capture settings. When DV/IEEE 1394 Capture is the selected capture format, no options are available because the options are automatically set to the IEEE 1394 standard.
50 Workspace and workflow Include Captions On Import Select this check box to detect and automatically import embedded closed caption data in an embedded closed caption file. Deselect this check box to not import embedded captions, which helps save time while importing. Growing Files Premiere Pro supports growing files for OP1A MXF files. The preference allows users to opt whether Premiere automatically refreshes as they grow, and if so, how frequently.
51 Workspace and workflow Sync Settings preferences When you work with 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 more information, see Sync Settings in Premiere Pro CC.
52 Workspace and workflow Initiating Sync On first launch, you can initiate the sync by selecting Sync Settings Now from the Welcome screen. Or you can select File > [your Adobe ID] > Sync Settings Now. The Adobe ID associated with the product's license is used to identify the user. If you haven't already created and uploaded settings for this application, the local settings are uploaded to the cloud by default.
53 Workspace and workflow • Workspace Layouts • Keyboard Shortcuts Note: Keyboard shortcuts created for Windows only sync with a Windows computer. Mac OS keyboard shortcuts only sync with a Mac OS computer. When Syncing When you initiate a sync, the modification date between the local settings and the settings stored in the Creative Cloud is compared. If modification dates do not match, a sync conflict is detected.
54 Workspace and workflow Select Sync Settings or Use Settings From A Different Account from the Welcome screen or the File > Sync Settings menu. All the settings files from the "7.0" directory are automatically copied to the "8.0" directory. Important notes: • The "8.0" directory is created on the Creative Cloud server only after you sync settings for the first time. When you sync settings for the first time, you may notice a delay in syncing because all the settings from the “7.
55 Workspace and workflow Exit Ctrl+Q Edit Undo Ctrl+Z Cmd+Z 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...
56 Workspace and workflow Apply Video Transition Ctrl+D Cmd+D Apply Audio Transition Ctrl+Shift+D Shift+Cmd+D Apply Default Transitions to Selection Shift+D Shift+D Lift ; ; Extract ' ' Zoom In = = Zoom Out - - Next in Sequence Shift+; Shift+; Previous in Sequence Ctrl+Shift+; Opt+; Snap S S 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
57 Workspace and workflow Arrange Bring to Front Ctrl+Shift+] Shift+Cmd+] Bring Forward Ctrl+] Cmd+] Send to Back Ctrl+Shift+[ Shift+Cmd+[ Send Backward Ctrl+[ Cmd+[ Reset Current Workspace...
58 Workspace and workflow Extend Next Edit To Playhead Shift+W Shift+W Extend Previous Edit To Playhead Shift+Q Shift+Q Show/Hide Tracks...
59 Workspace and workflow 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 Rolling Edit Tool N N Rate Stretch Tool R R Razor Tool C C Slip Tool Y Y Slide Tool U U Pen Tool P P Hand Tool H H Zoom Tool Z Z Result Windows Mac OS Go to Next Edit Point Down Down Go to Next Edit Point on Any Track
60 Workspace and workflow 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 Ripple Trim Previous Edit To Playhead Q Q Select Camera 1 1 1 Select Camera 2 2 2 Select Camera 3 3 3 Select Camera 4 4 4 Select Camera 5 5 5 Select Camera 6 6 6 Sele
61 Workspace and workflow 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 Shift+T Ctrl+T Trim Backward Ctrl+Left Opt+Left Trim Backward Many Ctrl+Shift+Left Opt+Shift+Left Trim Forward Ctrl+Right Opt+Right Trim Forward Many Ctrl+Shift+Right Opt+Shift+Right Trim Next Edit to Playhead Ctrl+Alt+W Opt+W Trim Previous Edit to Playhead Ctrl+Alt+Q Opt+Q Re
62 Workspace and workflow Next Row Field Enter Return Open in Source Monitor Shift+O Shift+O Previous Column Field Shift+Tab Shift+Tab Previous Row Field Shift+Enter Shift+Return Thumbnail Size Next Shift+] Shift+] Thumbnail Size Previous Shift+[ Shift+[ Toggle View Shift+\ Shift+\ Result Windows Mac OS Add Clip Marker Ctrl+1 Clear Selection Backspace Delete Decrease Audio Tracks Height Alt+- Opt+- Decrease Video Tracks Height Ctrl+- Cmd+- Increase Audio Tracks Height Al
63 Workspace and workflow Titler Result Windows Mac OS Arc Tool A A Bold Ctrl+B Cmd+B Decrease Kerning by Five Units Alt+Shift+Left Opt+Shift+Left Decrease Kerning by One Unit Alt+Left Opt+Left Decrease Leading by Five Units Alt+Shift+Down Opt+Shift+Down Decrease Leading by One Unit Alt+Down Opt+Down Decrease Text Size by Five Points Ctrl+Alt+Shift+Left Opt+Shift+Cmd+Left Decrease Text Size by One Point Ctrl+Alt+Left Opt+Cmd+Left Ellipse Tool E E Increase Kerning by Five Units
64 Workspace and workflow Rotation Tool O O Selection Tool V V Type Tool T T Underline Ctrl+U Cmd+U Vertical Type Tool C C Wedge Tool W W 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 Trim Backward by Large Trim Offset 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
65 Workspace and workflow 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.
66 Workspace and workflow • Mac: Users/[user name]/Documents/Adobe/Premiere Pro/[version]/Profile-CreativeCloud-/Mac/ Signed out of Creative Cloud Sync Settings • Win: Users\[user name]\Documents\Adobe\Premiere Pro\[version]\Profile-username\Win\ • Mac: Users/[user name]/Documents/Adobe/Premiere Pro/[version]/Profile-username/Mac/ [version] can be 7.0 or 8.0 2 Copy the keyboard shortcuts file (.kys) and paste into the required file location.
67 Workspace and workflow • To remove a set of shortcuts, choose the key set from the Set menu and click Delete. When prompted in the warning dialog box, click Delete to confirm your choice. Print 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.
68 Chapter 3: Project setup Creating and changing projects 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. Premiere Pro creates a folder on your hard disk at the start of each new project.
69 Project setup Create a project Projects may contain more than one sequence, and the settings for one sequence may differ from that of another. Premiere Pro will prompt you for settings for the first sequence every time you create a new project. However, you can cancel this step to create a project containing no sequences. 1 (Optional) If you plan to capture video from a device, connect the device to your computer using an IEEE 1394 or SDI connection.
70 Project setup Title Safe Area Specifies how much of the frame edge to mark as a safe zone for titles, so that titles aren’t cut off by television set overscan. A rectangle with cross hairs marks the title-safe zone when you click the Safe Margins button in the Source Monitor or Program Monitor. Titles are usually assumed to require a wider safe zone than action.
71 Project setup Note: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project. If you want to keep the file in the project but can’t locate it at the moment, use Offline instead. Skip Previews Stops Premiere Pro from searching for any preview files already rendered for the project. This allows the project to load faster, but you may need to render parts of its sequences for best playback performance.
72 Project setup Copying projects to a new location The Project Manager can help you collect a project to a new location. Collecting files copies the current project and all of its associated media files to a single storage location. There is no conversion of files when the files are copied. When collecting a project, you can specify whether the new project retains any of the unused clips from the original project.
73 Project setup Individual Clips Uses the frame size, frame rate, field type, and pixel aspect ratio of each individual clip in the sequence, and transcodes them using their individual settings. When the source cannot be matched, the clip is only copied and not transcoded. For example, if the clip contains an attribute that the chosen format or preset does not support.
74 Project setup Note: Once you flatten the compositions into video clips, you cannot edit the original compositions in the newly created project. You can however edit the original compositions in the source project using Dynamic Link. Destination Path Designates where Project Manager saves the files you specified. Click Browse to navigate to a location other than the default.
75 Chapter 4: Importing footage Transferring and importing files Supported file formats Premiere Pro can import many video and audio formats. Premiere Pro can import files in the formats listed, provided the codec used to generate a specific file is installed locally. Most of these software modules are installed automatically with Premiere Pro.
76 Importing footage About importing files 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. Finally, you can export a Premiere Pro project from After Effects, and import it into Premiere Pro.
77 Importing footage You can also import files and folders by dragging them from Windows Explorer (Windows) or Finder (Mac OS) into the Project panel. On Windows Vista, if the User Account Control (UAC) is activated, Windows disables drag-and-drop from Windows Explorer, or any program, to any program running in Administrator mode. You run Premiere Pro in Administrator mode for plug-in activation, special disk access, and network permissions.
78 Importing footage • To import a folder of files, choose File > Import. Locate and select the folder, and then click Import Folder. The folder, with its contents, is added as a new bin in the Project panel. • For instructions on importing a numbered still-image sequence as a clip, see Import images as an image sequence. Import files using Adobe Bridge You can import files into Premiere Pro from Adobe Bridge.
79 Importing footage Note: Video and still-image files that you want to import must not be more than the maximum dimensions allowed. For more information on maximum dimensions in Premiere Pro, see the Premiere Pro Work Area blog. Supported native video and audio formats Format Details 3GP, 3G2 (.3gp) Apple ProRes 64-bit Import only on Windows ASF Netshow (Windows only) AVI (.avi) DV-AVI, Microsoft AVI Type 1 and Type 2 DV (.
80 Importing footage Native MJPEGs 1DC VOB WMV Windows Media, Windows only Note: Render Type 1 AVI clips before previewing from a DV device. To render a Type1 AVI clip, add it to a sequence in a DV project, and preview it. Supported native camera formats Premiere Pro lets you work with a wide range of native media formats from the latest DSLR cameras, without transcoding or file rewrapping. The media formats listed here are supported for directly importing and editing with Premiere Pro CC.
81 Importing footage RED support Premiere Pro CC supports working natively with RED Digital Cinema (R3D) footage from the following cameras: • RED ONE • RED EPIC • RED Scarlet-X cameras with support for RED Rocket • Red Dragon including RED Dragon 6K • Color Science like REDcolor2, REDgamma2, and REDlogFilm Note: RED format clips use the GPU (OpenCL and CUDA) for debayering for an improved and faster playback performance.
82 Importing footage MXF Media eXchange Format MXF is a container format that supports: • P2 Movie: Panasonic Op-Atom variant of MXF, with video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, AVC-Intra • XDCAM HD Movie • Sony XDCAM HD 50 (4:2:2) • Avid MXF Movie WMA Windows Media Audio, Windows only WAV Windows Waveform Supported still-image and still-image sequence file formats Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files.
83 Importing footage SCC Scenarist Closed Caption File STL EBU N19 Subtitle File XML W3C/SMPTE/EBU Timed Text File Supported video project file formats Format Details 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.
84 Importing footage To make the assets for a sequence easy to import with the sequence, first consolidate the project that contains the sequence. Collect the files and copy them to a new location with the Project Manager. 1 Select File > Import, and browse to the project file containing the desired sequence or sequences, and select them. 2 Click Open. 3 In the Import Project dialog box, choose whether to import the entire project or selected sequences, and click OK.
85 Importing footage Importing still images 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 . An imported still image uses the duration specified in the Still Image preferences. You can change the duration of a still image in a sequence.
86 Importing footage 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.
87 Importing footage If you want to define the dimensions of the Illustrator art when it is rasterized, use Illustrator to set crop marks in the Illustrator file. For information about setting crop marks, see Illustrator Help. Even though the layers in Illustrator are merged in Premiere Pro you can edit the layers by selecting the clip and choosing Edit > Edit Original. Import images as an image sequence You can import an animation contained in a single file, such as an animated GIF.
88 Importing footage Using audio from audio CDs You can use CD audio (CDA) files in a project, but before you can import them into Premiere Pro, you need to convert them to a supported file format, such as WAV or AIFF. You can convert CDA files using an audio application such as Adobe® Audition®. Note: Make sure that you own the copyrights or have licensed the copyrights to any audio tracks you use.
89 Importing footage • Premiere Pro does conform audio in uncompressed clips when you use them in sequences with non-matching sample rates. However no conforming is done until you export the sequences or create audio preview files. • Premiere Pro does conform audio in uncompressed formats that were not recorded in a natively supported sample rate.
90 Importing footage A P2 card is a solid-state memory device that plugs into the PCMCIA slot of a Panasonic P2 video camera, such as the AG-HVX200. The digital video and audio data from the video camera is recorded onto the card in a structured, codecindependent format known as MXF (Media eXchange Format). Specifically, Premiere Pro supports the Panasonic OpAtom variant of MXF, with video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, or AVC-I formats.
91 Importing footage The default workspace has the Project panel and the Media Browser docked into the same panel. It is not apparent that you can drag clips into the Project panel in this workspace configuration, but you can. To import assets into the Project panel from the Media Browser, select the clips you wish to import, and then drag them to the Project tab. The assets will then be imported.
92 Importing footage Importing XML project files from Final Cut Pro 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. Also, Premiere Pro retains the sequence markers, sequence settings, track layout, locked tracks, and sequence timecode start points of Final Cut Pro source projects.
93 Importing footage Final Cut Pro effect Premiere Pro effect Table 1. Conversion of Final Cut Pro video effects Crop Crop Eight-Point Garbage Matte Eight-Point Garbage Matte Four-Point Garbage Matte Four-Point Garbage Matte Gaussian Blur (provided the channel selection in Final Cut Pro is Alpha+RGB.) Gaussian Blur Luma Key Luma Key Three-Way Color Corrector Three-Way Color Corrector Final Cut Pro transition Premiere Pro transition Table 2.
94 Importing footage Final Cut Pro audio transition Premiere Pro audio transition Table 4. Conversion of Final Cut Pro audio transitions Cross Fade (0 dB) Constant Gain Cross Fade (+3 dB) Constant Power Other transitions Constant Power Final Cut Pro composite modes Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects.
95 Importing footage About capturing and digitizing To bring footage that is not already in the form of a file or set of files into a Premiere Pro project, you can capture it, or digitize it, depending on the type of source material: Capture You capture digital video from a live camera or from tape: you record it from the source to the hard disk. Many digital camcorders and decks record video to tape. You capture the video from tape to the hard disk before using it in a project.
96 Importing footage Set capture format, preferences, and tracks Use the Capture panel (choose File > Capture) to capture digital or analog video and audio. This panel includes a preview, which displays video being captured, and controls for recording with or without device control. The Capture panel also contains a Settings pane for editing your capture settings, and a Logging pane for logging clips for batch capturing.
97 Importing footage 2 Specify whether you want to cancel capture on dropped frames, report dropped frames, or generate a batch log file. 3 Specify whether to use device control timecode. If a device controller is installed, Premiere Pro can record the timecode supplied by the controller instead of recording any timecode written to the source tape. Select tracks for capture 1 To open the Capture panel, select File > Capture. 2 In the Capture panel, click the panel menu.
98 Importing footage 2 Select one or more of the Capture options. If you are using a device controller that generates its own timecode, select Use Device Control Timecode. Use Device Control Timecode replaces the unreadable timecode recorded on the tape with the controller’s timecode. Click OK. 3 If you want to save captured clips to a specific bin in a project, first open the project . Before capturing, make sure that the bin exists in the Project panel. 4 Choose File > Capture.
99 Importing footage Online Premiere Pro sees your device and can control the tape. 7 Click OK. 8 In the Device Control section of the Settings pane, specify the following options as needed: Preroll Time Indicates how much before the In point Premiere Pro starts playing the tape before capture. The appropriate value varies depending on the device you are using. Timecode Offset Indicates the number of frames to adjust the timecode embedded in the captured video.
100 Importing footage 3 Click Options. 4 In the VTR And Port Control section, select a protocol and port for your device. 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 frames. The shuttle control lets you change the speed of the tape as you play it forward or backward.
101 Importing footage 3 (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your project. 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.
102 Importing footage 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. These settings will be preserved for the project, but you may need to set them again for each new project.
103 Importing footage • Select Scene Detect in the Capture area of the Logging pane. Note: Scene detection works for DV, HDV 1080i, and HDV 720p footage. Common capture issues If you run into problems while capturing digital footage, refer to Premiere Pro Help or the documentation for your camera, deck, or capture card. For more information, check Troubleshoot digital video capture and playback.
104 Importing footage • When shuttling, logging, and capturing HDV footage on Mac OS, the preview pane in the Capture panel will remain blank. You must preview this footage on an external TV monitor or, when the source device is a camcorder, on its viewfinder. More Help topics Importing assets from tapeless formats Optimizing scratch disk performance Setting up your system Setting up your system for HD, DV, or HDV capture For Premiere Pro system requirements, see the Adobe website.
105 Importing footage Set up an SD-SDI, HD-SDI, or component system A Computer and computer monitor B (Optional) A/V breakout box C XLR jacks and plugs for L & R audio D RS232/422 port and connector E BNC jacks and plugs for Y/Pb/Pr component video, BNC jack, and plug for SDI video F HD/SD VTR G BNC jacks and plugs for Y/Pb/Pr component video, BNC jack, and plug for SDI video H RCA jacks and plugs for L (white) & R (red) audio I Speakers J Television monitor With this setup you can capture audio and vide
106 Importing footage 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.
107 Importing footage Set up an S-Video or composite system A Computer and computer monitor B Ports and connectors for FireWire, USB 2.
108 Importing footage Specify the default audio device 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.
109 Importing footage 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. These commands are used you have set In and Out points to mark the area to render audio previews, rather than the work area bar. Rendering audio previews could improve playback performance, but could take additional time when you select either of these commands.
110 Importing footage If you transfer video files to a scratch disk folder before creating the project for them, specify the folder containing the video files for Captured Video. Captured Audio Audio files that you create using File > Capture, or by recording through the Audio Mixer as when recording a voiceover. Video Previews Files created when you use the Sequence > Render In to Out, export to a movie file, or export to a device.
111 Importing footage • Specify your fastest hard disks for capturing footage and storing scratch files. You can use a slower disk for audio preview files and the project file. • Specify only disks attached to your computer. A hard disk located on a network is usually too slow. Avoid using removable media because Premiere Pro always requires access to scratch disk files. Scratch disk files are preserved for each project, even when you close the project.
112 Importing footage Note: Before clicking the Clean button, make sure that any storage devices that contain your currently used source media are connected to your computer. If footage is determined to be missing because the storage device on which it is located is not connected, the associated files in the media cache is removed. This removal results in the need to reconform or reindex the footage when you attempt to use the footage later.
113 Importing footage Note: You can transfer and import DVCPRO HD assets, XDCAM HD and XDCAM EX assets, and AVCHD assets from their media without capturing. Capturing takes longer than transferring, and does not preserve all metadata. For more information, see Importing assets from tapeless formats .
114 Importing footage If you have a list of In and Out points, you can log them manually without a device online; simply enter each shot’s In and Out points and click the Log Clip button. You can also log frame numbers using a separate logging or spreadsheet program and then import the spreadsheet into Premiere Pro as a list of offline clips. You can also log clips interactively: you can set In points and Out points while the source tape is playing.
115 Importing footage • You can operate the device and log clips using the keyboard. See the tool tips for Capture panel controls, or choose Edit > Keyboard Customization to view or change the shortcuts. • 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. About batch capturing Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device.
116 Importing footage 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. Remove capture settings from an offline clip 1 In the Project panel, select the clip.
117 Importing footage • The filename of each clip (as specified in the Capture Settings dialog box) must not duplicate the filename of an existing clip. If necessary, double-click each offline clip to verify that its name is unique. If you select an offline clip with a duplicate name for batch capturing, Premiere Pro slightly alters the name of that clip when it captures it. In this way, it avoids overwriting the other file with the same name.
118 Importing footage More Help topics Working with offline clips Set up device control Specify capture settings Set up device control Working with offline clips Working with timecode About timecode Many camcorders and high-end video decks record timecode, which marks specific frames with unique addresses. Timecode is important whenever you want to capture exactly the same frames that were identified or captured previously, as in the following tasks: • You want to log clips before you capture them.
119 Importing footage Choose timecode display format By default, Premiere Pro displays the timecode for any clip that was originally written to the source medium. If a frame has timecode 00:00:10:00 on tape, the timecode displayed for it after it has been captured is 00:00:10:00. Source timecode often makes logging clips easy. Source timecode is shown for a clip regardless of the timebase of the sequences in which it is used.
120 Importing footage Stripe tape or replace timecode 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.
121 Importing footage 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.
122 Importing footage 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 In the Effects panel, click the triangle next to the Video Effects bin to open it.
123 Importing footage Digitizing analog video In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer. 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.
124 Importing footage • To open an existing project using an external device, such as a camcorder or deck, to digitize, select an existing project that was set up with the correct DV or HDV preset. 10 (Optional) Specify how Premiere Pro maps the audio channels from the digitizing device to audio tracks. Select Edit > Preferences > Audio (Windows), or Premiere Pro > Preferences > Audio (Mac OS). In the Source Channel Mapping pane, select an audio channel format from the Default Track Format menu.
125 Importing footage Create clips for offline 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. For example, most modern computers can handle the data rate of DV in full resolution.
126 Importing footage 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.
127 Chapter 5: Managing assets Organizing assets in the Project panel Working with bins The Project panel can include bins, which you can use to organize project contents in much the same way as folders in Windows Explorer or Mac OS Finder. Bins can contain source files, sequences, and other bins. As your project grows, you can make new bins to contain those items.
128 Managing assets Adding and deleting bins • To add a bin, click the New Bin button at the bottom of the Project panel. You can also use the keyboard shortcut Control+/ (Windows) or Command+/ (MacOS). • To delete one or more bins, select the bins and click the Delete icon at the bottom of the Project panel. You can also delete bins by selecting one or more bins, and then pressing the Delete key. See the entire series of video tutorials about the Project panel by Andrew Devis on the Creative Cow website.
129 Managing assets Bin tips • To move an item into a bin, drag the item to the Bin icon. You can move bins into other bins to nest them. Dropping an item into a bin does not automatically open the bin. • To display the contents of a bin, in List view, click the triangle beside the Bin icon to expand it, or double-click the bin. • To show the contents of an enclosing (parent) bin when you’re viewing only the contents of a nested bin, click the in the Project panel.
130 Managing assets 2 Do one of the following: • In the Project panel, choose Clip > Rename, type the new name, and press Enter (Windows) or Return (Mac OS). • In the Project panel, click the Name field, type the new name, and press Enter (Windows) or Return (Mac OS). • In the Metadata panel, click the triangle next to Clip to show the clip properties fields. Type the new name into the Name field, and press Enter (Windows) or Return (Mac OS).
131 Managing assets To set a poster frame for the icon, drag the playhead or shuttle to the desired frame, and then press the Shift+P (Windows) or Command+P (Mac OS) keys. For more information, see Working in Icon view. The thumbnail viewer in the Preview Area of the Project panel is hidden by default. Enable it in the panel menu of the Project panel. 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.
132 Managing assets View clip properties ❖ Do one of the following: • If the clip is in the Project panel, select it to display a subset of its properties in the preview area at the top of the Project panel. • If the clip is in the Source Monitor, Timeline panel, or Project panel, select it and choose File > Get Properties For > Selection. • If the clip is not in the project, choose File > Get Properties For > File. Locate and select the clip you want to analyze, and then click Open.
133 Managing assets Customizing the Project panel Change Project panel views After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset. You can customize the information it displays to meet the needs of your project.
134 Managing assets Working in Icon view The Icon view in Premiere Pro has the following features: • Use the Zoom slider to increase or decrease the size of icons. Icons can be zoomed to a large scale so that you can view the contents of your media more easily. • To scrub through the contents of a clip, do one of the following: • Move (but do not click and drag) the cursor across the thumbnail of the movie clip. This action is called "Hover Scrub".
135 Managing assets • 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.
136 Managing assets 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 Choose a type: Integer columns can contain only whole numbers. Real columns can contain decimals up to two digits. Text columns can contain any text you enter.
137 Managing assets Status Whether an asset is online or offline. If a clip is offline, Status also indicates why. Offline Properties Whether the source of an offline clip contains video, audio, or both. Scene Field for scene name entered through the Capture panel or the Edit Offline File dialog box. It can be helpful to use scene names from a script here to help organize your work. Shot/Take Field for shot name, or take name entered using the Capture panel or through the Edit Offline File dialog box.
138 Managing assets About the XMP standard Adobe applications store metadata using the Extensible Metadata Platform (XMP). XMP is built on XML, which facilitates the exchange of metadata across a variety of applications and publishing workflows. Metadata in most other formats (such as Exif, GPS, and TIFF) automatically transfers to XMP so you can more easily view and manage it. In most cases, XMP metadata is stored directly in source files.
139 Managing assets Files Displays properties for source files you select in the Project panel. (If you select a proxy, properties for the actual file appear.) For After Effects, both Project and File properties are stored directly in files, so you can access this metadata in Adobe Bridge. Using clip metadata and file metadata XMP file metadata is information about a source file stored in the source file. Clip metadata is information about a clip, stored in a Premiere Pro project file.
140 Managing assets A Before search, all properties appear B After search, only properties with search string appear. In Adobe Premiere Pro, Previous and Next buttons navigate through search results. 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.
141 Managing assets Real Displays fractional numbers that you drag or click to change. Text Displays a text box (for properties similar to Location). Boolean Displays a check box (for On or Off properties). 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.
142 Managing assets Working with aspect ratios 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). You record video for television in either a 4:3 or 16:9 frame aspect ratio. Additionally, different video recording standards use different pixel aspect ratios.
143 Managing assets 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.
144 Managing assets A 4:3 square-pixel image displayed on 4:3 square-pixel (computer) monitor B 4:3 square-pixel image interpreted correctly for display on 4:3 nonsquare pixel (TV) monitor C 4:3 square-pixel image interpreted incorrectly for display on 4:3 non-square pixel (TV) monitor Premiere Pro CS3 and earlier used pixel aspect ratios for standard-definition video formats that ignore the concept of clean aperture.
145 Managing assets Fix aspect ratio distortion The sequence settings preset you choose when you create a sequence sets the frame and pixel aspect ratios for the sequence. You can’t change aspect ratios after you create the sequence, but you can change the pixel aspect ratio that Premiere Pro assumes for individual assets. For example, if a square-pixel asset generated by a graphics or animation program looks distorted in Premiere Pro, you can correct its pixel aspect ratio to make it look right.
146 Managing assets Pixel aspect ratio When to use D1/DV PAL 1.09 Footage has a 720x576 frame size, and the desired result is a 4:3 frame aspect ratio. D1/DV PAL Widescreen 1.46 Footage has a 720x576 frame size, and the desired result is a 16:9 frame aspect ratio. Anamorphic 2:1 2.0 Footage was shot using an anamorphic film lens, or it was anamorphically transferred from a film frame with a 2:1 aspect ratio. HDV 1080/DVCPRO HD 720, HD Anamorphic 1080 1.
147 Managing assets When you turn overlays on, source clip timecodes and marker comments are displayed by default. When you scrub the clip or pause playback, the overlays show the relative metadata for whatever frame the playhead is on. Markers and Indicators are displayed depending on where the playhead is placed. Note: Overlays are displayed only when the monitor is in Composite Video display mode.
148 Managing assets Video tracks are denoted as V1, V2, V3, and audio tracks are denoted as A1, A2, A3. This information matches what is shown in the Info panel. By default, this information is displayed in the left side of the Source and Program monitors. Marker comments When you add a marker to your clip or sequence, you can display the clip marker and sequence marker comments as overlays. The overlay displays the comments concatenated to the marker name.
149 Managing assets A End of sequence indicator B End of media indicator C Edit point indicator Enable overlays for Transmit Select Enable Overlays For Transmit to send overlays for display to an external monitor. Enable overlays during playback Select Enable Overlays During Playback to display the overlays on the monitor while playing the footage. Text Size The Text Size setting determines how large the type appears in the overlay.
150 Managing assets 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 save and apply the preset. .
151 Managing assets 2 With a Timeline panel active, select Clip > Render And Replace. 3 In the Render And Replace dialog, you can choose the format and settings based on which the sequence is rendered. Source Match the settings of the rendered media with the sequence settings, individual clip settings, or presets. Sequence Uses the frame size, frame rate, field type, and pixel aspect ratio of the selected sequence, and renders the matching clips to these settings.
152 Managing assets FAQs Can you render effects while rendering and replacing video clips? Both intrinsic and non-intrinsic effects are typically not rendered when you use the Render and Replace feature; effects are unrendered and editable in the replaced clip. The only exception is when you apply the intrinsic video effect Motion and select the Match > Sequence option. In this case, the Motion intrinsic effect is rendered in the replaced clip.
153 Managing assets Timeline Search is an invaluable time saver that lets you manage complex Timelines more easily. You can find and select clips within a sequence based on specific search criteria. Find assets using the Find dialog The FInd dialog lets you perform both simple and detailed searches. You can locate any assets in your project that meet criteria you specify. For example, you can search for a video clip that has a certain word in its Name column and a phrase in its Comment column.
154 Managing assets • When you specify a single metadata property, the search is restricted only to clip metadata. When you select the following metadata properties, you can search across both clip and file metadata. • Name • Tape Name • Description • Comment • Log Note • Scene • Shot • Client Save a search query as a Search Bin To create a Search Bin from a search query, follow these steps. 1 Enter your search query in the Search field of the project panel.
155 Managing assets Revise the contents of a Search Bin You cannot modify the contents of a Search Bin like other regular bins in the Project panel. You need to revise the search criteria of a Search Bin to change its contents. 1 In the Project panel, select Edit Search Bin from the context menu of the Search Bin. 2 In the Edit Search Bin dialog, revise the search criteria as required. 3 Click OK after specifying the revised search criteria.
156 Chapter 6: Monitoring assets Playing assets 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. Use the Source Monitor controls to play or cue a clip. Use the Program Monitor controls to play or view the active sequence. Most playback controls have keyboard equivalents. When you want to use keyboard shortcuts to control playback, make sure that the monitor you want is active.
157 Monitoring assets • To play around the current time, from two seconds before the playhead to two seconds after the playhead, Altclick (Windows) or Option-click (Mac OS) the Play In To Out button. Pressing Alt (Windows) or Option (Mac . The Play Around button is available to drag into the OS) changes the button to the Play Around button button bar. See this article by Clay Asbury on the Premiumbeats.com website for using the Play Around button and Loop button to assist dynamic trimming in the Timeline.
158 Monitoring assets 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 Right Arrow key. , or hold down the K key and tap the L key, or press the • To advance five frames, Shift-click the Step Forward button • To jump back one frame, click the Step Back button Left Arrow key. , or press Shift+ the Right Arrow key.
159 Monitoring assets Using the J, K, and L keys to shuttle video You can quickly and accurately move through frames in a sequence using the J, K, and L keys. You can also use the keys to shuttle through icons. The J key always moves the playhead in reverse and the L key always moves it forward. The K key is a modifier and stop playback key. Press J to move backward at normal speed, press J and K to move backward slowly, or press K and tap the J key to move back a frame at a time.
160 Monitoring assets Using the Waveform monitors and vectorscope 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. For decades, video production and duplication facilities have used waveform monitors and vectorscopes to accurately evaluate video levels—specifically, color and brightness.
161 Monitoring assets Vectorscope The Vectorscope displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Saturation is measured from the center of the chart outward. Saturated, vivid colors produce a pattern some distance from the center of the chart, while a black-and-white image produces only a dot at the center of the chart. The particular color, or hue, of the image determines the direction (angle of the pattern).
162 Monitoring assets 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. Chroma Displays both chrominance in addition to luminance information.
163 Monitoring assets A Values B R waveform C G waveform D B waveform E Range of signal components More Help topics Vectorscope on Premiere Pro Wikia Color Correction effects Using the Reference 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.
164 Monitoring assets Andrew Devis shows how to correct brightness and contrast, and use of the Reference Monitor in this video on the Creative Cow web site. Open a Reference Monitor ❖ In the Window menu, choose Reference Monitor. The Reference Monitor opens in a separate panel. If you want, you can drag the Reference Monitor’s tab into a drop zone next to the Source Monitor.
165 Chapter 7: Editing sequences and clips Edit from sequences loaded into the Source monitor 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.
166 Editing sequences and clips Important notes • You can rearrange Source indicators. Premiere Pro remembers the last arrangement (patching order), as it does for regular clips. • Premiere Pro displays all source tracks in the sequence that you load into the Source monitor. • During drag editing, Premiere Pro ignores track targeting to let you place clips on any track. • You can load a sequence containing a nested sequence clip into the Source monitor.
167 Editing sequences and clips Open a sequence in a Timeline panel You can open one or more sequences in a Timeline panel. ❖ In the Project panel, double-click the sequence you want to open. Navigate in a sequence A Timeline panel contains several controls for moving through the frames of a sequence.Time rulerMeasures sequence time horizontally. Tick marks and numbers indicating the sequence time are displayed along the ruler and change according to the level of detail at which you view the sequence.
168 Editing sequences and clips • Use any playback control in the Program Monitor. • Press the Left or Right Arrow key to move the playhead the arrow keys to move in increments of five frames. in the direction you want. Press Shift while pressing Move the playhead using timecode ❖ Click the timecode value, type a new time, and press Enter (Windows) or Return (Mac OS). Do not use the number pad on Mac OS.
169 Editing sequences and clips • Use the Page Up key to move left and the Page Down key to move right. • Press the Alt key (Windows), or Command key (Mac OS), and then turn the mouse wheel. • Drag the zoom scroll bar at the bottom of the Timeline panel left or right. • On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally.
170 Editing sequences and clips Delete tracks You can delete one or more tracks at a time, whether video or audio. 1 With a Timeline panel active, choose Sequence > Delete Tracks. 2 In the Delete Tracks dialog box, check the box for each type of track you want to delete. 3 For each checked item, specify which tracks you want to delete in its menu. Rename a track 1 Right-click (Windows) or Ctrl-click (Mac OS) the track's name and choose Rename.
171 Editing sequences and clips Note: Excluding a track with the Eye icon does not exclude it from outputs. If excluded tracks hold clips that run before or after clips on non-excluded tracks, black video will appear before or after the last clips in the non-excluded tracks. To trim this ending black video from the output files, set the In point and Out point as desired in the Export Settings dialog box.
172 Editing sequences and clips Set the default keyframe display of audio tracks You can determine whether new audio tracks hide all keyframes, or show Clip Keyframes, Clip Volume, Track Keyframes, or Track Volume, by default when they are created. 1 Select Edit >Preferences > General (Windows), or Premiere Pro > Preferences > General (Mac OS). 2 In the New Timeline Audio Tracks drop-down menu, select the option desired. 3 Click OK.
173 Editing sequences and clips If your computer has a capture card compatible with Premiere Pro, the Available Presets list shows presets optimized for the card, in some cases. The sequence settings must be correct when you create the sequence. Once a sequence is created, some sequence settings, such as the timebase settings, are locked. This locking prevents unwanted inconsistencies that could result from changing sequence settings later.
174 Editing sequences and clips 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.
175 Editing sequences and clips Frame Size Specifies the dimensions, in pixels, for frames when you play back sequences. In most cases, match the frame size for your project to the frame size of your source files. Do not change the frame size to compensate for slow playback. Instead, choose a different quality setting from the Project panel menu. Alternatively, you can adjust the frame size of final output by changing export settings. The maximum frame size for a sequence is 10,240x8,192.
176 Editing sequences and clips Display Format (Audio) Specifies whether audio time display is measured using audio samples or milliseconds. Display Format applies when Show Audio Time Units is selected in the Source Monitor or Program Monitor menu. (By default, time is displayed in frames, but it can be displayed in audio units for sample-level precision when you are editing audio.
177 Editing sequences and clips Tracks settings Controls the number of video tracks and the number and type of audio tracks for new sequences you create. Master Sets the default channel type for the Master track in new sequences to Mono, Stereo, 5.1 surround, or 16 Channel. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it.
178 Editing sequences and clips 2 In the Sequence Presets tab of the New Sequence dialog box, select the preset that most closely matches your video footage or the requirements of your capture card. Note: If you plan to create a custom sequence with Custom settings (accessed in the Editing Mode drop-down list), there is no need to select a preset before clicking the Settings tab. 3 Modify the settings on the General or Tracks tabs to meet the needs of your project. 4 Click Save Preset.
179 Editing sequences and clips Create an HDV or HD sequence You can edit HDV footage or HD footage in 720p, 1080p, or 1080i. When creating a new sequence for these formats, select or create the preset that best matches the specifications of your source footage. The DVCPROHD presets included with are for editing material recorded to MXF files with a Panasonic P2 camcorder. Premiere Pro has presets also for AVCHD, XDCAM HD, and XDCAM EX.
180 Editing sequences and clips 5 In the Video section, choose the desired settings for Frame Size, Pixel Aspect Ratio, Fields, and Display Format. For example, 1920 x 1080, Square Pixels (1.0), No Fields (Progressive Scan), and 30 fps Drop-Frame Timecode. 6 In the Audio section choose the desired settings for Sample Rate and Display Format.
181 Editing sequences and clips If you edit 24p footage in a sequence based on one of the DV-24p presets, Premiere Pro, by default, manages the 24p pulldown scheme, so that the video can be exported for playback on 24p NTSC devices. This allows you to export the movie to a file in a 24p format. You would use this method, for example, to export your movie to a DVD for playback on DVD players and TV monitors that support 24p formats.
182 Editing sequences and clips 2 From the Available Presets list on the Sequence Presets tab, choose the 24p preset that matches the frame aspect ratio and audio sampling rate of most of your footage. 24p presets are located in the DV-24p, DVCPRO50 > 480i, DVCPROHD > 1080i, and DVCPROHD > 720p folders. 3 Select a location, type a name for your sequence, and click OK.
183 Editing sequences and clips If you use 30 fps non-drop-frame timecode for projects containing 24p footage, Premiere Pro drops every fifth frame from the 24p footage timecode count. When you view the properties of your 24p clip, the frame rate is shown as 23.976, but the timebase as 29.97. If you’d prefer to read a clip’s original timecode, do the following: 1 Right-click (Windows) or Control-click (Mac OS) the clip in the Project panel. 2 Select Modify > Interpret Footage > Use Frame Rate from File.
184 Editing sequences and clips The ability to nest sequences enables you to employ a number of time-saving techniques and to create effects that otherwise would be difficult or impossible: • Reuse sequences. When you want to repeat a sequence—particularly a complex one—you can create it once, and then simply nest it in another sequence as many times as you want. • Apply different settings to copies of a sequence.
185 Editing sequences and clips Reveal a source frame from a nested sequence If you want to reveal a clip in a nested sequence (for example, to edit it), you can quickly open the source sequence at the exact frame you want to reveal. 1 In the Timeline panel, target the track in which a nested sequence is located by clicking the header of that track. If you target multiple tracks, the targeted track that is on top is used to select the nested sequence.
186 Editing sequences and clips Targeting tracks 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.
187 Editing sequences and clips Note: For information about creating tracks that are compatible with your assets, see Work with tracksand Create a custom sequence preset. The Program Monitor can help you determine where to position a clip you’re adding to a sequence. During an overwrite edit, it displays the frames in the sequence adjacent to the new clip’s head and tail. During an insert edit, it displays the frames adjacent to the insertion point.
188 Editing sequences and clips Drag video only or audio only to a sequence You can add the video track, the audio tracks, or both types of tracks of a clip to a sequence. When you drag a clip from the Project panel or from the main viewing area of the Source Monitor, you automatically add both types of tracks. If you want to add only one type of track, add it from the Source Monitor. 1 Double-click a clip in a Project panel or Timeline panel to open it in the Source Monitor.
189 Editing sequences and clips 4 Drag the source clip track indicators to the headers of the tracks where you want to overwrite the source clip components. Note: During an overwrite edit, if a targeted track has no source track indicator, then an empty track background will be inserted on that track for the duration of the source clip, removing any previous contents at that location 5 In the Source Monitor, click the Overwrite button .
190 Editing sequences and clips Make a three-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 In the Source and Program Monitors, mark any combination of three In and Out points.
191 Editing sequences and clips You can arrange clips in a bin in storyboard fashion by setting the Project panel to icon view. (See Change Project panel views.) 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 .
192 Editing sequences and clips A render bar will appear above any clip in a Timeline panel with attributes not matching the sequence settings. The render bar indicates that those clips will have to be rendered before final output. However, it doesn't necessarily indicate these clips can't be previewed in real-time. If a yellow render bar appears above the clip, Premiere Pro can probably play it back in real time without rendering.
193 Editing sequences and clips Set or remove sequence In and Out points You can use In and Out points in a sequence to help you place and rearrange clips. 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 .
194 Editing sequences and clips Rearranging clips in a sequence Move clips You can place clips in playback order to create a sequence in a Timeline panel. You can also change the order of clips once they are there, replace them, remove them, or insert additional clips. Move clips in a Timeline panel You can drag a clip and place it in an empty spot or snap it to another clip. You can also insert and overwrite clips that you move.
195 Editing sequences and 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 Using your numeric keypad with Num Lock on, type + (plus) and the number of frames that you want to move the clip to the right, or type - (minus) and the number of frames you want to move the clip to the left. Then, press Enter (Windows) or Return (Mac OS).
196 Editing sequences and clips 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. ❖ Do any of the following: • To split a single clip or linked clip, select the Razor tool to split the clip.
197 Editing sequences and clips 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.
198 Editing sequences and clips When one or more tracks are targeted, you can also choose one of the following options: Next in Track Finds the next gap to the right of the CTI on the selected tracks. Previous in Track Finds the next gap to the left of the CTI on the selected tracks. The CTI moves to the position of the next or previous gap. The zoom level of the Timeline does not change, even if the gap is not visible at the current magnification.
199 Editing sequences and clips 2 Do one of the following: • To delete both the audio and video of linked clips, click the first clip in the track. • To delete only one track’s clips and not the linked counterparts, Alt-click (Windows) or Option-click (Mac OS) the track’s clips. 3 Press Delete. Note: You can also delete a track along with everything it contains. See Work with tracks.
200 Editing sequences and clips Select one or more clips When you want to perform an action that affects a clip as a whole, such as applying an effect, deleting a clip, or moving a clip in time, first select the clip in a Timeline panel. The Tools panel contains selection tools that can handle various selection tasks. Do any of the following: • To select a single clip, use the Selection tool and click a clip in a Timeline panel.
201 Editing sequences and clips You can trim the exterior edges of the group (the head of the first clip in a group or the tail of the last clip), but you can’t trim any of the interior In and Out points. • To group clips, select multiple clips, and choose Clip > Group. • To ungroup clips, select a group clip, and choose Clip > Ungroup. • To select one or more clips in a group of clips, Alt-click (Windows) or Option-click (Mac OS) a single clip in a group.
202 Editing sequences and clips You can customize a sequence preset to allow previewing of uncompressed 10-bit or uncompressed 8-bit footage. For more information, see Create a sequence with uncompressed video playback. FAQ "Why is there a red or yellow bar in my sequence?" See this article for details about what red, yellow, and green render bars mean and how they relate to playback and rendering previews.
203 Editing sequences and clips Note: You can set Premiere Pro to render the audio tracks whenever you render the video tracks. For more information, see Render audio when rendering video. The rendering time depends on your system resources and the complexity of the segment. These options are not available if the work area is enabled. To maximize the quality of motion in rendered preview files, check the Maximum Render Quality option in Sequence Settings. For more information, see Settings.
204 Editing sequences and clips Play a sequence from start to finish ❖ In the Program Monitor, click the Play In To Out button . Scroll a sequence during preview You can set an option to automatically scroll a sequence when it is wider than the visible area in its Timeline panel. 1 Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS). Type the desired lengths in the Preroll and Postroll fields.
205 Editing sequences and clips Export: External Device Enables export to tape for the specified device. This option doesn’t affect playback to an external device during export. Disable Video Output When Premiere Pro is in the Background Disables video to the external monitor if Premiere Pro is not the active application on your desktop. 24p Conversion Method Specifies the conversion method for 24p footage. See Set 24p playback options.
206 Editing sequences and clips Multi-camera editing workflow 1. Create a project Click New Project from the Premiere Pro Welcome screen, or select File > New Project. In the New Project dialog box, enter a name for the project, and click OK to accept the defaults. 2. Import footage Select File > Import. In the Import dialog box that appears, navigate to the directory containing your video and audio files. Select the files to import, and click Open.
207 Editing sequences and clips In the Program Monitor or Timeline panel, press the spacebar or click the Play-Stop toggle button to begin playback. While the sequence is playing, press the number key on the main keyboard to cut to the camera with that number. For more information about using keyboard shortcuts, see Keyboard shortcuts for multi-camera editing . The active camera’s clip has a red border around it in the multi-camera view in the Program Monitor as follows: 8.
208 Editing sequences and clips Synchronize Point Before creating a multi-camera source sequence using In points, Out points, or clip markers as the synchronization point, you mark clips for synchronization. For more information, see Mark clips for synchronization. In Points, Out Points Mark the sync points using In Points or Out Points before creating the multi-camera source sequence. Timecode Select the Timecode option to synchronize the clips if they were recorded with timecode in sync with each other.
209 Editing sequences and clips Audio sequence settings Sequence Settings determines how the audio tracks in the source sequence are populated, how the panning and channel assignments are set and whether they are muted. • Select Camera 1 when only the audio from Camera 1 is used in the editing sequence. Multicam editing is enabled for only the video portion of the source sequence. If you use A/V clips to create this sequence, the audio tracks for all audio associated with video 1 are unmuted.
210 Editing sequences and clips Organize and select camera angles to view in monitor's multi-camera mode Premiere Pro lets you organize and select the angles to view in the Source Monitor's multi-camera mode. From the Source monitor's pop-up menu, select Edit Cameras. In the Edit Cameras dialog box, all the clips are listed in the original order that they were arranged in the sequence tracks. You can drag-and-drop the clips to change the sequence order.
211 Editing sequences and clips Import Multiclip sequences from Final Cut Pro You can export a Multiclip project from Final Cut Pro, and import the Final Cut Pro project XML files into Premiere Pro. In Premiere Pro, the Multiclips sequences appear as multi-camera sequences with all the Final Cut Pro project settings intact. Working with markers Markers Markers indicate important points in time and help you position and arrange clips.
212 Editing sequences and clips 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 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. Clicking a clip thumbnail in the Markers panel moves the playhead to the location of the corresponding marker.
213 Editing sequences and clips 5 If you choose Web Link, or Flash Cue point, provide additional details for the URL and the cue point. 6 Click OK. To edit the marker, double-click the marker icon to open the Marker dialog box. You can create a keyboard shortcut to open the Marker dialog box. 7 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.
214 Editing sequences and clips 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 Press the keyboard shortcut you just created for "Add Clip Marker.
215 Editing sequences and clips Delete a marker 1 Do one of the following: • To delete a clip marker, cue the playhead to the clip marker, and then open the clip in the Source Monitor. • To delete a sequence marker, cue the playhead to the marker. 2 To clear a marker, select Marker > Clear Selected Marker. To clear all the markers, select Marker > Clear All Markers. Note: You can’t remove a sequence marker by dragging it away from the time ruler.
216 Editing sequences and clips Creating and playing clips 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. 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.
217 Editing sequences and clips Duplicate a clip 1 In the Project panel, select a clip, and choose Edit > Duplicate. 2 To rename the duplicate clip, select it, choose Clip > Rename, and type a new name for the clip. You can also create a duplicate clip by copying and pasting it in the Project panel (or its folders), by Ctrl-dragging (Windows) or Command-dragging (Mac OS) a clip in the Project panel.
218 Editing sequences and clips 4 (Optional) To retain the original In and Out points in the master clip, reset them in the Source Monitor while previewing the master clip. You can also convert a master clip into a subclip by selecting the source clip in the Project panel or Source Monitor, choosing Clip > Edit Subclip, and setting media start and end times for the subclip. Create a subclip from a Timeline panel You can create subclips from a Timeline panel.
219 Editing sequences and clips Trimming clips Working with In and Out points Setting a clip’s In and Out points is a process called marking. You define the first frame you want to include in a sequence by marking that frame as the clip’s In point. Then you define the last frame you want to include by marking it as the Out point. In a typical workflow, you mark In and Out points for a clip in the Source Monitor.
220 Editing sequences and clips 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 zoom scrolling bar that runs below the time bar in the Source Monitor. The waveform of all channels, and the time bar, will expand or contract horizontally.
221 Editing sequences and clips Set In points and Out points in the Source Monitor ❖ To set an In Point or Out point in the Source Monitor, do any of the following: • To mark an In point, drag the playhead to the frame you want. Then click the Mark In Point button , or press the I key. • 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.
222 Editing sequences and clips 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 . .
223 Editing sequences and clips Note: Dragging, as opposed to clicking and releasing the mouse to select an edit point, both selects an edit point and performs the trim. • Selection tool: Clicking the edit point with the Selection tool chooses a Trim In or Trim Out edit point selection, depending on which side of the edit point you click. If you Ctrl-click (Windows) or Command-click (Mac OS) on the edit point with the Selection tool, the cursor displays a Ripple Edit or Rolling Edit tool.
224 Editing sequences and clips Trimming in Timeline gaps You can select the edit point of an empty gap between clips and use timeline trimming commands. Regular Trim: This technique works the same as selecting the clip side of the edit point for the opposite direction. For example, selecting a Trim Out on the right side of an empty gap is equivalent to selecting the Trim In of the adjacent clip. Rolling Trim: If one side of the edit point is an empty gap then it behaves the same as a regular trim.
225 Editing sequences and clips Note: Unlike selecting with the mouse, edit points on linked clips are not automatically selected unless the associated tracks are also targeted.
226 Editing sequences and clips Performing ripple trims can cause clips on different tracks to get out-of-sync. Toggle Sync Lock or Toggle Track Lock on tracks to limit which tracks shift during a ripple trim. Out-of-sync indicators draw in the visible part of a clip in the Timeline, not just at the head of the clip. That way, if you zoom in or scrolling so that the head isn't visible, you can still see that a clip is out-of-sync with its linked parts.
227 Editing sequences and clips Trim with the selection tool You can change a clip’s In point or Out point by dragging its edit point with the selection tool 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.
228 Editing sequences and clips About ripple and rolling edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as ripple edits and rolling edits. By using specialized tools, make adjustments in a single action that would otherwise require multiple steps to accomplish. When you perform ripple and rolling edits with trim tools, the affected frames appear in the Program Monitor side by side.
229 Editing sequences and clips 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. Make a rolling (extend) edit to the playhead Do the following: 1 Click a track header to target the track containing the clip you want to trim.
230 Editing sequences and clips 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. When you use the Slip or Slide tool, the Program Monitor displays the four frames involved in the edit side by side, except when editing audio only.
231 Editing sequences and clips • To slip clip selection left one frame: • Press Alt+Shift+Left (Windows). • Press Option+Command+Left (Mac OS). • To slip clip selection right five frames: • Press Ctrl+Alt+Shift+Right (Windows). • Press Option+Shift+Command+Right (Mac OS). • To slip clip selection right one frame: • Press Alt+Shift+Right (Windows). • Press Option+Command+Right (Mac OS). For more information about slipping clips with keyboard shortcuts, see this video by Todd Kopriva and video2brain.
232 Editing sequences and clips • Press Option+, (Mac OS). • To slide clip selection right five frames: • Press Alt+Shift+. (Windows). • Press Option+Shift+. (Mac OS). • To slide clip selection right one frame: • Press Alt+. (Windows) • Press Option+. (Mac OS). For more information about sliding clips with keyboard shortcuts, see this video by Todd Kopriva and video2brain. Nudging clips You can move clips forward or backward in the Timeline by one frame at a time, or by a large frame offset.
233 Editing sequences and clips Work in trim mode Trim mode is the state where the Program Monitor is in a special trim mode configuration. Certain keyboard shortcuts, button clicks, and J-K-L playback perform a trim operation, like a ripple or rolling edit. These behaviors are all part of dynamic trimming. Timeline trimming serves many purposes, and you can trim in it dynamically, but trim mode is ideal for fine-tuning an edit.
234 Editing sequences and clips 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. If there is no edit point selected, then the playhead automatically moves to the nearest edit point on the targeted tracks. Edit points are selected on the targeted tracks with the trim type set to a rolling edit regardless of the currently active tool.
235 Editing sequences and clips Refining Trims in trim mode While playing in trim mode using Play (which begins playback in a loop), you can make further refinements to the selected edit points using buttons or keyboard shortcuts. Each time the loop plays back footage, you can modify the trim by clicking buttons, or pressing shortcuts. Each trim you perform is immediately committed to the sequence.
236 Editing sequences and clips • Select or drag clips, or select or change any other object in the Timeline. • Switch focus to another sequence. Keyboard shortcuts for trim mode • The Play/Stop Toggle keyboard shortcut starts or stops the playback. It is available when you are in trim mode, and defaults to the Spacebar key. • Use the Trim Forward and Trim Backward shortcuts to trim by one frame at a time.
237 Editing sequences and clips Asymmetrical trimming Asymmetrical trimming can be performed in both the Timeline and in trim mode. An asymmetrical trim is when a combination of Ripple In and Ripple Out edit points are selected on different tracks with one edit point selected per track. If there is more than one edit point selected per track, all edit points move in the same direction.
238 Editing sequences and clips Display the edit point you want to trim 1 In the Trim Monitor, click the Select Video Or Audio Track button. 2 Select the track you want to edit from the menu. Preview the edit in the Trim Monitor • To preview the edit once, click the Play Edit button • To preview the edit repeatedly, enable the Loop button . and then click the Play Edit button. Cancel an edit ❖ Press Ctrl+Z (Windows) or Command+Z (Mac OS), or use the History palette.
239 Editing sequences and clips 4 Do any of the following: • Position the pointer in the left or right image so that it becomes the Trim-out icon respectively, and drag left or right to ripple-edit the corresponding clip. or Trim-in icon • Drag the timecode display under the left or right image to trim the corresponding clip. • Drag the left or right jog disk to trim the corresponding clip.
240 Editing sequences and clips Numeral Color Specifies a color for the countdown numeral. Cue Blip On Out Displays a cue circle in the last frame of the leader. Cue Blip On 2 Plays a beep at the two-second mark. Cue Blip At All Second Starts Plays a beep at the beginning of every second during the leader. 4 Click OK. You can customize a counting leader clip by double-clicking it in the Project panel.
241 Editing sequences and clips Create a color matte 1 In the Project panel, click the New Item button at the bottom of the Project panel and choose Color Matte. 2 In the New Synthetic dialog box, set Width, Height, Timebase, and Pixel Aspect Ratio to match these settings for the sequence in which you will use the color matte. Click OK. 3 In the Color Picker, select a color for the color matte, and click OK.
242 Editing sequences and clips When you log clips from a tape, Premiere Pro automatically creates offline clips containing the exact information required to capture the clips later. You can also create offline clips manually. Use offline clips in situations such as the following: • Clips are logged but not yet captured. Because offline clips behave like captured clips, you can organize the logged offline clips in the Project panel.
243 Editing sequences and clips You can assign a keyboard shortcut to the Clip > Edit Offline command. The Edit Offline File dialog box opens. 2 Edit settings as needed, and then click OK. Note: You cannot edit ‘contains’ or ‘audio format’ for an offline clip if it is located in the timeline. Relink an offline clip You can link an offline clip to a source file, even to a source file different from the one from which the offline clip was made.
244 Editing sequences and clips Media Files Are Deleted Makes the selected files offline in the project and erases the source files from the disk. Note: If you recapture a clip using the same filename as a file remaining on disk, the original file is replaced. To preserve original clips without changing their names, move them to another folder or disk, or specify different filenames for the clips you recapture.
245 Editing sequences and clips For example, when you import a clip into a project for the first time, the clip uses the media filename by default. Later, even if you rename the clip, Premiere Pro can help you locate the clip even if the media file is offline. Depending on how you want to handle the offline files, you can specify the required search criteria and Match File properties.
246 Editing sequences and clips • Right-click or Ctrl-click the clip in the Timeline, and select Link Media from the context menu. 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.
247 Editing sequences and clips Project-based tutorial How to import and relink media Follow this project-based tutorial to learn how to get your video, audio, images, and other assets into Premiere Pro. Learn how you can easily find them again if they move or get renamed. Closed Captioning Closed Captioning workflow in Premiere Pro Premiere Pro CC provides a full set of closed caption features. You can import closed caption files into Premiere Pro, and add them to a sequence.
248 Editing sequences and clips • Import through the Media Browser using the file's context menu • Import the Closed Caption clip as a separate Closed Caption "sidecar" file If the file contains embedded closed captions, Premiere Pro imports the closed caption data automatically into the project. To detect and automatically import embedded closed caption data in an embedded closed caption file, select the preference to import the closed caption data into your project.
249 Editing sequences and clips Step 3: Edit Closed Caption files The Captions tab in Premiere Pro lets you make word-level edits of the closed caption clips. You can also make changes to the timing and formatting, like, text alignment, text color, from an intuitive user interface. 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.
250 Editing sequences and clips • Export the closed caption tracks through Premiere Pro or Adobe Media Encoder using the Export Settings dialog. You can do so by following these steps: 1 Load a closed caption asset in the Source Monitor or select it in the Project panel. You can also select a sequence in the Project panel, or have the Timeline panel in focus. 2 Select File > Export > Media. 3 In the Export Settings dialog box, specify the following options under the Captions tab.
251 Editing sequences and clips After you complete the video and audio editing in Premiere Pro, you export the sequence as a reference movie to a third-party Captioning application. This movie can be sent to a Captioning service bureau or a Captioning specialist, where the movie is used as a reference to create a closed caption track from scratch.
252 Editing sequences and clips Using source patchers and source track indicators Source patchers have three states: On, Off, Black/Silent. One patch is displayed for each video and audio track for the item in the Source monitor. • When an item is in the On state, the corresponding track is included in an edit operation. • When the track is in the Off state, edit changes are not reflected in the track.
253 Editing sequences and clips 3 Do one of the following: • Choose Clip > Merge Clips • Right-click (Control-click for Mac OS), and then choose Merge Clips from the shortcut menu. The Merge Clips dialog launches. Choose from one of the following options for the point of synchronization: • Based on the In point: For locating sync based on the In point, at the clap of the slate, for example.
254 Editing sequences and clips • Based on the Clip End • Based on matching timecode • Based on clip markers Click OK. Your clips are now synchronized. Editing with merged clips In general, working with merged clips is much like working with any other clip. There are some workflow differences that should be noted, however.
255 Editing sequences and clips • Set the File popup menu to All Files, and then enter metadata for the merged clip. Any data entered into a property will be entered into the XMP for each of the component files that make up the merged clip. Note: The All Files display acts like a multiple clip selection, where is displayed when the property values don’t match across the selection.
256 Editing sequences and clips Modifying clip properties with 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 clips. • For more information about using the Field Order options, see Change the field order of a clip. • For more information about using the Alpha Channel options, see Alpha channels and mattes.
257 Editing sequences and clips 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.
258 Editing sequences and clips • To clear all states from the History panel, choose Clear History from the panel menu.
259 Chapter 8: Editing audio Overview of audio and the Audio Track Mixer 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. In addition, there are standard tracks and adaptive tracks. The Standard audio track can cope with both mono and stereo in the same track.
260 Editing audio You can adjust volume and pan/balance settings of audio tracks directly in the Timeline or Effect Controls panels. You can use the Audio Track Mixer to make mixing changes in real time. You can also add effects to audio clips in a sequence. If you are preparing a complex mix with many tracks, consider organizing them into submixes and nested sequences. For advanced editing using Adobe Edition, select Edit > Edit in Audition.
261 Editing audio Premiere Pro lets you change the track format (the grouping of audio channels) in an audio clip. For example, you can apply audio effects differently to the individual channels in a stereo or 5.1 surround clip. You can change the track format in stereo or 5.1 surround clips. In such cases, the audio is placed on separate mono tracks when the clips are added to a sequence. Note: You can change a master clip’s track format only before you add an instance of the clip to a sequence.
262 Editing audio • When making audio adjustments of any kind, determine whether the change is applied to the entire track or to individual clips. Audio tracks and clips are edited in different ways. • Use the Show/Hide Tracks command in the Audio Track Mixer menu to display only the information you want to see and save screen space. If you aren’t using Effects and Sends, you can hide them by clicking the triangle at the left edge of the Audio Track Mixer.
263 Editing audio 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.
264 Editing audio 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.
265 Editing audio Audio Meters panel 1 Select Window > Audio Meters. 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. For dynamic peaks, the peak indicator is updated constantly with a three-second threshold. For static peaks, the peak indicator displays the loudest peak until the indicator is reset or playback is restarted.
266 Editing audio For example, monitoring an 8-channel adaptive clip in the Source monitor allows you to listen to channel 4 out of both the left and right speakers. This option is available for the following: • Adaptive clips played in the Source monitor • Sequences with multi-channel masters played in either the Source monitor or the Timeline panel Monitor Stereo Pairs Only available for sequences with multi-channel masters played in the Timeline.
267 Editing audio Karl Soule shows how to map audio channels in Premiere Pro in this video tutorial. This video is for editors dealing with footage using split-mono tracks (voice on one track, ambient sound on another). This quick tutorial on audio channel mapping is a must-see. By default, clip audio channels are mapped to the master track when they are captured or imported into a project.
268 Editing audio Note: If you leave P2 clips at their default mono channel mapping, use them in a sequence with a 5.1 master track, and export that sequence to P2, the exported file contains audio only in the third and fourth channels. 1 Import the clips into a P2 project containing a sequence with a 5.1 master track. 2 In the Project panel, select the clip or clips you want to map. 3 Select Clip > Modify > Audio Channels. 4 Under Track Format, click 5.1. 5 If necessary, click the 5.
269 Editing audio Audio channel icons These icons appear on the Audio Channels tab of the Modify Clip dialog box, and in the Audio Output Mapping dialog box. The following icons indicate channel mapping for stereo mixes: Left stereo channel Right stereo channel The following icons indicate channel mapping for 5.
270 Editing audio Break all stereo tracks into mono tracks Premiere Pro can automatically break out individual stereo and surround channels to discrete monaural clips as each clip is captured or imported. 1 Choose Edit > Preferences > Audio (Windows) or Premiere Pro > Preferences > Audio (Mac OS). 2 In the Source Channel Mapping area, choose Mono from the Default Track Format menu. 3 Click OK. Use a mono clip as stereo You may sometimes find it useful to use a mono audio clip as a stereo clip.
271 Editing audio 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 Do one of the following: • Shift-click to select each audio clip on separate tracks in a Timeline panel.
272 Editing audio Switch a time ruler to audio units in the Source or Program Monitor ❖ In the Source or Program Monitor panel menu, choose Show Audio Time Units. Navigate audio in sample view 1 Switch the time ruler in the Source Monitor or Timeline panel to audio units. 2 To navigate, do one of the following: • Drag the current-time indicator in the time ruler to navigate smoothly through the clip.
273 Editing audio For more information about linking and unlinking clips, see this excerpt from An Editor's Guide to Premiere Pro by Richard Harrington, Robbie Carman and Jeff Greenberg. Link or unlink video and audio 1 Do the following in a Timeline: • To link video and audio, Shift-click a video and audio clip, or a series of audio clips to select them, and then choose Clip > Link. • To unlink video and audio, select a linked clip and choose Clip > Unlink.
274 Editing audio Create a split edit 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.
275 Editing audio Monitor volume level while capturing You can monitor audio levels while capturing DV or HDV footage. 1 If the Audio Meters panel is not open, select Window > Audio Meters. 2 Capture video from a DV or HDV source. The Audio Meters panel displays the audio level for the captured footage. Specify whether to play audio while scrubbing By default Premiere Pro plays the audio when you scrub any clip or sequence containing audio in the Source Monitor, Program Monitor, or a Timeline.
276 Editing audio • To adjust the gain of more than one master clip or clip instance, select the clips in a Project panel or sequence. In a sequence, Shift-click the clips to select them. In a Project panel, Shift-click to select contiguous clips, or Ctrlclick (Windows) or Command-click (Mac OS) to select non-contiguous clips. 2 Choose Clip > Audio Options > Audio Gain.
277 Editing audio Adjust track volume with keyframes You can adjust the volume level of a whole clip or track, or have the volume change over time using the rubber band in an audio track of a Timeline panel. 1 Expand the audio track view by clicking the triangle next to the audio track name. 2 In the audio track header, click the Show Keyframes button , and choose one of the following from the menu: Show Clip Keyframes Lets you animate audio effects for a clip, including Volume Level.
278 Editing audio 4 (Optional) To change the Volume effect over time, move the current-time indicator and adjust the volume level graph in the Effect Controls panel. Each time you move the current-time indicator and make an adjustment, a new keyframe is created. You can also adjust the interpolation between keyframes by editing the keyframe graph. Repeat as needed. Set track volume in the Audio Track Mixer ❖ In the Audio Track Mixer, adjust the track’s volume setting.
279 Editing audio More Help topics Capturing DV or HDV video Record changes to sound tracks Volume effect Channel Volume effect Volume effect Channel Volume effect Select keyframes Modify keyframe values Record changes to sound tracks Select keyframes Delete keyframes Monitor clip volume and pan using Audio Clip Mixer The Audio Clip Mixer lets you adjust the volume and pan of clips in the Timeline panel when the Timeline panel is in focus.
280 Editing audio When the Timeline panel is in focus, each clip under the playhead's current location is mapped to a channel in the Clip Mixer. For example, the clip on the track A1 of the Timeline panel maps to the channel A1 of the Clip Mixer. The Clip Mixer displays clip audio only when there is a clip under the playhead. When a track contains a gap, the corresponding channel in the Clip Mixer is empty if the gap is under the playhead. For example, in the timeline below, Track A2 is empty.
281 Editing audio If the keyframe button is pressed, while you adjust the volume or pan, you add a keyframe to the current playhead position. Alternatively, you update the current keyframe, if there is a keyframe under the playhead. If the keyframe button is not pressed, you move the current segment.
282 Editing audio Note: If necessary, you can balance a clip by applying the Balance audio effect. Do so only after you determine that track balancing isn’t sufficient. In the Audio Track Mixer, the number of level meters in a track indicates the number of channels for that track. The output track is displayed in the Track Output Assignment menu at the bottom of each track.
283 Editing audio A Stereo pan/balance knob B 5.1 surround pan/balance tray C Center percentage For best results monitoring pan or balance settings, make sure that each of the computer or audio card’s outputs is connected to the correct speaker, and make sure that positive and negative wires are connected consistently across all speakers. Pan or balance a stereo track ❖ In the Audio Track Mixer, do one of the following: • Drag the pan control knob or the value below the knob.
284 Editing audio 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. Direct Output Assignment buttons show to which Master track channel Premiere Pro automatically assigned the channels of the initial tracks.
285 Editing audio Before recording audio, make sure that your computer has sound inputs. Premiere Pro supports ASIO (Audio Stream Input Output) devices (Windows) and Core Audio devices (Mac OS). Many devices have connectors for connecting speaker, microphone cables, and breakout boxes. If your computer has an ASIO or Core Audio device for connecting sound input devices, make sure that the sound device settings and input volume level options are properly set.
286 Editing audio 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.
287 Editing audio 13 Click the Stop icon to stop recording. The recorded audio appears as a clip in the audio track and as a master clip in the Project panel. You can always select the clip in the Project panel and rename or delete it.
288 Editing audio 5 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...". If you are not using a predefined In/Out range, stop the recording manually by clicking the Voice-over Record button again, or by pressing the Spacebar key. Once recording is complete, an audio file of the recording is created.
289 Editing audio 2 In the Audio Track Mixer, choose an automation mode from the Automation Mode menu at the top of each track you want to change. To record changes, choose a mode other than Off or Read. (See Audio Track Mixer automation modes) 3 (Optional) To protect the settings of a property during the Write automation mode, right-click (Windows) or Control-click (Mac OS) an effect or send and then choose Safe During Write from the menu.
290 Editing audio Latch Identical to Write, except that automation doesn’t start until you begin adjusting a property. The initial property settings are from the previous adjustment. Touch Identical to Write, except that automation doesn’t start until you begin adjusting a property. When you stop adjusting a property, its option settings return to their previous state before the current automated changes were recorded. The rate of return is determined by the Automatch Time audio preference.
291 Editing audio To assign channels, click the Direct Output Assignment button for the standard and mono tracks in the Audio Track Mixer. From the Assign Stereo Pairs dialog, set the stereo pairs you want to assign to a track. For example, you can assign stereo pairs 1+2 and 3+4. Control surface support A control surface is a hardware device with controls like faders, knobs, and buttons to give you tactile control when working with audio.
292 Editing audio Premiere Pro supports two kinds of control surfaces: • Mackie Control protocol (Mackie) • Euphonix control surfaces (EUCON) Check the hardware documentation that comes with the device to set it up correctly. Once you've done that, go to Premiere Pro's Preferences dialog to set up the configuration. After configuring your device with Premiere Pro, you can control the Audio Track Mixer and Audio Clip Mixer using the buttons, knobs, and faders on the device.
293 Editing audio Track Name: Control surfaces also display track names. However, depending on the device, there can be a limit to the number of characters in the track name that the control surface can display. Automation Mode: Mackie devices let you toggle between Off, Read, Latch, Touch, and Write states for each track in your sequence. Pan/Balance control: Use the Pan and Balance knob to control pan and balance for each track in your sequence.
294 Editing audio Advanced mixing 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. For example, you can use a submix to apply identical audio and effect settings to three tracks of a five-track sequence.
295 Editing audio Note: You cannot assign a track send to the Master track in a 16-channel sequence. Send a track to a submix 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 In the Effects And Sends panel, do one of the following: • To send to an existing submix, click a Send Assignment Selection triangle and choose a submix name from the menu.
296 Editing audio Note: To preserve the integrity of left/right channel assignments, you can avoid using downmix options that include the LFE channel. Routing track output By default, track output is routed to the master track. You can also route the complete track signal to a submix track or master track by using the Track Output Assignment menu at the bottom of each track in the Audio Track Mixer.
297 Chapter 9: Titling and the Titler Creating and editing titles 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. When the panels are not docked to the main workspace, they appear over the other panels, or float.
298 Titling and the Titler 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. Open, import, or export a title Open a title for editing ❖ Double-click the title in the Project panel or in a Timeline panel. Note: Titles open in the Titler, not the Source Monitor.
299 Titling and the Titler 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. Some templates include graphics pertinent to certain subjects, such as new-baby or vacation themes. Others include placeholder text that you can replace to create credits for your movie. Some templates have transparent backgrounds, represented by dark gray and light gray squares.
300 Titling and the Titler • To delete a template, choose Delete Template from the Templates menu, and then click OK. Note: If you delete a template using this procedure, it is removed from the hard disk. Create a template from an open title 1 With a title open, click the Templates button 2 Click the Templates menu button . . Choose Import Current Title As Template. 3 Enter a name for the title template, and then click OK.
301 Titling and the Titler 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. Installing Premiere Pro (and other Adobe applications) adds fonts to the shared Adobe resources. You can insert special characters, such as the © symbol, into point text or paragraph text.
302 Titling and the Titler Note: Resizing the text box resizes only the visible area of the box. The text remains the same size. Type text along a path 1 In the Titler, click the Path Type tool or the Vertical Path Type tool . Using the path type tools is similar to drawing with Pen Tool. 2 In the drawing area, click where you want the text to begin. 3 Click or drag to create a second point. 4 Continue clicking until you create the path shape you want. 5 Type the text.
303 Titling and the Titler 2 Type the characters you would like displayed for Style Swatches (limit of two) and the Font Browser (limit of six) into their respective fields. 3 Click > OK. Change the font size ❖ Select the text and do one of the following: • Choose Title > Size and choose a font size. • Change the Font Size value in the Title Properties panel. Change text orientation 1 Select a text object. 2 Choose Title > Orientation and select either Horizontal or Vertical.
304 Titling and the Titler Baseline Shift Specifies the distance of the characters from the baseline. Raise or lower the selected type to create superscripts or subscripts. Changing the Baseline Shift value affects all characters. Adjust the baseline shift for all the text in a text box by selecting the text box and changing the value. Adjust the baseline shift between specific contiguous characters by selecting only those characters and changing the value.
305 Titling and the Titler Note: To make tab markers visible whenever selected (rather than only when the Tab Stops dialog box is open), choose Title > View > Tab Markers. Delete a tab stop ❖ In the Tab Stops dialog box, drag the tab up, down, or off the tab ruler. More Help topics Transform objects in titles Live Text templates About Live Text templates Live text templates in Premiere Pro let you edit text layers in After Effects compositions directly in Premiere Pro.
306 Titling and the Titler 6 The Effect Controls panel in Premiere Pro displays the editable text templates. Each line of text in the After Effects composition is seen as a separate line of editable text in Premiere Pro. When there are multiple lines of editable text, additional blank text boxes are displayed to let you manage line breaks and the text placement effectively. 7 Edit the source text items as required in the Effect Controls panel.
307 Titling and the Titler Titler text styles 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. Premiere Pro also includes a set of default styles. By default, Premiere Pro stores all saved styles as style library files that use the .prsl file extension.
308 Titling and the Titler Apply a style to an object 1 Select the object to which you want to apply the style. 2 In the Title Styles panel, click the style swatch that you want to apply. To prevent the font type in the style from being applied to the font in your title, Alt-click (Windows) or Option-click (Mac OS) the style swatch. Specify the characters in the Title Styles panel You can specify the characters that are shown in the Title Styles panel.
309 Titling and the Titler Change the stacking order of objects in titles An object is any shape or text box you create in the Titler. When you create objects that overlap each other, you can control their stacking order in the Titler. 1 Select the object you want to move. 2 Choose Title > Arrange and then choose one of the following: Bring To Front Brings the selected object to the top of the stacking order. Bring Forward Switches the selected object with the object directly in front of it.
310 Titling and the Titler Distribute objects in titles A distribution option evenly spaces selected objects between the two most extreme objects. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects. When you distribute objects of different sizes, the spaces between objects vary.
311 Titling and the Titler • To set scale values in terms of percentages, choose Title > Transform > Scale, specify the values you want, and click OK. • To set scale values in terms of pixels, specify values for Width and Height in the Title Properties panel. Note: Dragging the handles of a text object created with the Horizontal Type or Vertical Type tool changes its font size. If the scaling is not uniform, the text’s aspect value also changes.
312 Titling and the Titler Return a logo to its original size or aspect ratio ❖ Select the logo and choose either Title > Logo > Restore Logo Size or Title > Logo > Restore Logo Aspect Ratio. More Help topics Add a texture for text or object Drawing shapes in titles 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.
313 Titling and the Titler 2 In the Title Properties panel, click the triangle next to Properties to expand its list, and then choose an option from the Graphic Type menu. Note: When you change shapes, the original object anchor points often are lost. To reveal the object anchor points before or after changing the shape, select the object with the Selection tool. Draw straight segments with Pen Tool Draw straight lines by clicking Pen Tool in the drawing area.
314 Titling and the Titler 5 Position Pen Tool where you want the curve segment to end. • To create a C-shaped curve, drag in a direction opposite to the direction that you dragged to create the previous object anchor point. • To create an S-shaped curve, drag in the same direction that you dragged to create the previous object anchor point. 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.
315 Titling and the Titler 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 Select Convert Anchor Point Tool and position the cursor over the object anchor point that you want to convert.
316 Titling and the Titler Fills, strokes, and shadows in titles Set a fill for text and objects An object’s fill property defines the area within the contours of the object. Fill specifies the space inside a graphic object, or within the outline of each character of a text object. You can fill an entire object or individual letters of type. Note: If you add a stroke to an object, the stroke also includes a fill (see Add a stroke to text or object). 1 Select the object you want to fill.
317 Titling and the Titler Ghost Specifies that the shadow is rendered, but not the fill. Eliminate and Ghost work best with objects that have shadows and strokes. Add a sheen Add a sheen to any object’s fill or stroke. A sheen resembles a streak of colored light across the surface of an object. You can adjust a sheen’s color, size, angle, opacity, and position. 1 Select the object. 2 Select Sheen in the Title Properties panel. 3 Click the triangle next to Sheen and set its options.
318 Titling and the Titler not consider the strokes in the extent calculation. Extended Character aligns the texture to the extended face (face plus the outer strokes). Alignment Rule X, Alignment Rule Y Aligns the texture to the top left, center, or bottom right of the object specified by Object X and Object Y. Alignment X Offset, Alignment Y Offset Specifies the horizontal and vertical offsets (in pixels) for the texture from the calculated application point.
319 Titling and the Titler Change the listing order of strokes 1 Select an object containing multiple strokes. 2 In the Title Properties panel, select the stroke you want to move. 3 Choose Move Up to move up the selected stroke one level in the list, or choose Move Down to move the selected stroke one level down in the list. Delete strokes from an object or text 1 Select an object containing one or more strokes.
320 Titling and the Titler • To create a crawling title, choose Title > New Title > Default Crawl. 2 Create the text and graphic objects for the rolling or crawling title. Use the Titler panel scroll bar to view offscreen areas of the title. When the title is added to the sequence, the offscreen areas roll or crawl into view. For rolling credits, create a long text box using the Area Type tool, and use alignment, tabs, and leading to adjust the formatting.
321 Chapter 10: Effects and transitions About 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. You can also use effects to rotate and animate a clip or adjust its size and position within the frame.
322 Effects and transitions Standard 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.
323 Effects and transitions GPU-accelerated effects Some effects can take advantage of the processing power of a certified graphics card to accelerate rendering. This acceleration of effects using CUDA technology is a component of the high-performance Mercury playback engine in Premiere Pro. For Premiere Pro system requirements, including a list of graphics cards that are certified as providing CUDA acceleration of effects in Premiere Pro, see the Adobe website.
324 Effects and transitions • 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 Black • Dip to White 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 Adobe Premiere Pro.
325 Effects and transitions Applying, removing, finding, and organizing effects 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. For example, the Blur and Sharpen bin contains effects that defocus an image, such as Gaussian Blur and Directional Blur. Find audio effects in bins named for the type of audio clips they support: mono, stereo, or 5.1.
326 Effects and transitions • Press Backspace. Note: You can remove Custom bins only from the Effects panel. 2 Click OK. 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. Alternatively, select the clip and double click an effect in the Effects panel to apply it. You can apply the same effect multiple times, using different settings each time.
327 Effects and transitions Note: You can also copy and paste keyframes from one effect parameter to another compatible effect parameter. See Copy and paste keyframes. 1 In a Timeline panel, select the clip that contains the effect or effects you want to copy. 2 (Optional) To select one or more effects to copy, in the Effect Controls panel, select the effect you want to copy. Shift- click to select multiple effects. To select all effects, skip this step. 3 Choose Edit > Copy.
328 Effects and transitions You can create a custom keyboard shortcut for the Effect Enabled command. This will toggle an effect on and off. FX badges An FX badge is an icon in the Timeline that lets you easily identify if an effect has been applied to a clip. Premiere Pro offers FX badges in different colors. Just by looking at the badge color, you can determine if you have applied an effect, modified an intrinsic effect, and so on.
329 Effects and transitions A Sequence name B Clip name C Show/Hide Timeline View button D Timeline view E Effect Controls panel menu F Current -time indicator By default, the timeline view is hidden, but you can show it by clicking the Show/Hide Timeline View button the Effect Controls panel, if necessary, to activate this button. . Widen You can click the triangle to expand an effect property to display the Value graph and Velocity graph.
330 Effects and transitions • To reorder the effects, drag an effect name to a new location in the list. A black line appears while you drag when the effect is above or below another effect. When you release the mouse, the effect appears in the new position. Note: Fixed effects (Motion, Opacity, Time Remapping, and Volume) cannot be reordered. • To show the timeline beyond a clip’s In and Out points, deselect Pin To Clip from the Effect Controls panel menu.
331 Effects and transitions More Help topics Modify keyframe values Apply effects to clips Markers Effect presets Effect presets In the Effects panel, the Presets bin contains presets for popular effects. You can save time by using a preset made for a specific purpose, rather than configuring an effect yourself. For example, if you want a clip to blur in quickly, you could apply the Fast Blur effect and set keyframes for it manually. You save time, however, by instead applying the Fast Blur In preset.
332 Effects and transitions Anchor To In Point Retains the original distance from the clip In point to the first effect keyframe. If the first keyframe is 1 sec. from the In point of the source clip, this option adds the keyframe at 1 sec. from the In point of the target clip. This option also adds all other keyframes relative to that position, without any scaling. Anchor To Out Point Retains the original distance from the clip Out point to the last effect keyframe. If the last keyframe is 1 sec.
333 Effects and transitions Note: If you have placed the same item in several different custom bins, and you delete that item from one bin, Premiere Pro deletes each occurrence of the item from the custom and preset bins, and deletes each item from all clips that it affects. 1 In the Effects panel, do one of the following: • To create a custom bin, click the New Custom Bin button menu.
334 Effects and transitions 2 Adjust the effect parameters using the Effect Controls panel. 3 Insert segments from your master clip into sequences. All the effects applied to the master clip ripple through all portions of the master clip edited into sequences. Note: The effects ripple through irrespective of whether you applied the effects before or after creating the sequence clips from the master clip. A clip that has a Master Clip effect applied displays a red line under the FX badge.
335 Effects and transitions Use the Reveal in Explorer (Win) or Reveal in Finder (Mac) command to find the media file on disk for a selected clip. How do you identify if a master clip or a track item is loaded in the Effect Controls panel? Here are a few tips to help you identify which type of item is loaded: • Clip name: For a track item, the sequence name precedes the clip name. For a master clip, only the clip name appears in the Effect Controls Panel.
336 Effects and transitions The tutorial provides you sample files to try out the feature for yourself. Masking and Tracking Masking in Premiere Pro You can leverage the powerful masking and tracking workflows from After Effects directly within Premiere Pro. Masks let you define a specific area in a clip that you want to blur, cover, highlight, apply effects, or color-correct. You can create and modify different shaped masks, like an Ellipse or a Rectangle.
337 Effects and transitions The shape mask appears in the clip displayed in the Program Monitor, and the effect is constrained within the masked area. Important notes • Premiere Pro does not save masks as effects presets. • Masking is disabled for the Warp Stabilizer effect. The mask shape controls do not appear for the Warp Stabilizer effect in the Effect Controls Panel. Create a free-form shape using the Pen tool The Pen Tool lets you freely draw complex mask shapes around objects.
338 Effects and transitions A Two-directional Bezier handles to control the shape of the curve B Bezier mask points 1 Place the Pen tool where you want the curve to begin, and hold the mouse button down. A vertex appears, and the Pen tool pointer changes to an arrowhead. 2 Drag to modify the length and direction of both direction lines for a vertex, and then release the mouse button.
339 Effects and transitions Modifying and moving masks The vertex points on a mask let you easily manage the shape, size, and rotation of a mask. Modify the shape, size, and rotation of a mask • To change the shape of a mask, drag a mask handle. • To change the shape of an ellipse mask to a polygon, press Alt and click any of the vertices of the ellipse.
340 Effects and transitions A Feather handle to control feathering B Expansion handle to expand and contract the mask C Mask position handle to move controls D Expansion guide E Feathering guide Apply mask feathering A Without feathering B With feathering applied Smooth the edges of a mask shape by applying feathering. Feathering softens the mask selection border so that it blends into the area outside the selection, and provides an aesthetically pleasing result.
341 Effects and transitions A Track the mask B Invert masked and unmasked areas C Change mask expansion D Adjust mask opacity E Feather mask edges Adjust mask opacity To adjust the opacity of a mask, specify a Mask Opacity value. The slider controls the mask opacity. At a value of 100, the mask is opaque and blocks out any underlying area of the layer. As you lower the opacity, more of the area under the mask becomes visible.
342 Effects and transitions Copy and paste masks between effects 1 In the Effect Controls panel, click the triangle to expand the effect to reveal the applied masks. 2 Select the mask to copy. 3 Select Edit > Copy. Or use the keyboard shortcut Ctrl+C (Win) or Cmd+C (Mac). 4 Select another effect in the Effects Control panel to which you want to paste the mask. 5 Choose Edit > Paste. Or use the keyboard shortcut Ctrl+V (Win) or Cmd+V (Mac). Note: You can copy and paste only one mask at a time.
343 Effects and transitions Stabilize with the Warp Stabilizer effect To stabilize motion using the Warp Stabilizer effect, do the following: 1 Select the clip you want to stabilize. 2 In the Effects panel, choose Distort > Warp Stabilizer, and then apply the effect by double-clicking, or by dragging the effect to the clip in the Timeline or the Effect Controls panel. After the effect is added, analysis of the clip begins immediately in the background.
344 Effects and transitions Borders settings adjust how borders (the moving edges) are treated for footage that is stabilized. Framing Controls how the edges appear in a stabilizing result. Framing can be set to one of the following: • Stabilize Only: Displays the entire frame, including the moving edges. Stabilize Only shows how much work is being done to stabilize the image. Using Stabilize Only allows you to crop the footage using other methods.
345 Effects and transitions Warp Stabilizer workflow tips 1 Apply the Warp Stabilizer. 2 While Warp Stabilizer is analyzing your footage, you can adjust settings or work on a different part of your project. 3 Choose Stabilization > Result > No Motion if you want to completely remove all camera motion. Choose Stabilization > Result > Smooth Motion if you want to include some of the original camera movement in the shot. 4 If the result is good, you’re done with stabilization.
346 Effects and transitions Clip handles and transitions In most cases, you don’t want a transition to occur during the essential action in a scene. For this reason, transitions work best with handles—the extra frames beyond the In and Out points set for the clip. The handle between a clip’s Media Start time and In point is sometimes called head material, and the handle between a clip’s Out point and Media End time is sometimes called tail material.
347 Effects and transitions Single-sided transitions fade to and from a transparent state, not to and from black. Whatever is below the transition in a Timeline panel appears in the transparent portion of the transition (the portion of the effect that would display frames from the adjacent clip in a two-sided transition). If the clip is on Video 1 or has no clips beneath it, the transparent portions display black.
348 Effects and transitions Note: Transition commands operate on all merged audio track items together. However, timeline targeting must be enabled to apply the default audio transition to multiple audio tracks at one time. The desired audio transition must be the user selected default, and you must use the Apply Audio Transition command. If you drag and drop the transition, it will be applied to a single audio track only.
349 Effects and transitions 4 Choose Set Selected As Default Transition. Set the duration of the default transition 1 Do one of the following: • Choose Edit > Preferences > General (Windows), or Premiere Pro > Preferences > General (Mac OS). • Click the Effects panel menu button. Choose Default Transition Duration. 2 Change the value for the Video Transition Default Duration or Audio Transition Default Duration, and then click OK.
350 Effects and transitions Copy and paste a transition 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 Select a transition in the Timeline. 2 Select Edit > Copy, or use the keyboard shortcut Ctrl+C (Win) or Cmd+C (Mac).
351 Effects and transitions A Play The Transition button B Transition preview C Edge selector D Clip previews E Start and End sliders F Clip A (first clip) G Transition H Clip B (second clip) I Current-time indicator • To open the transition in the Effects control panel, click the transition in a Timeline panel. • To show or hide the time ruler in the Effect Controls panel, click the Show/Hide Timeline View button necessary, widen the panel to make this button visible and active. .
352 Effects and transitions Align a transition using the Effect Controls panel 1 Double-click the transition in a Timeline panel to open the Effect Controls panel. 2 If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel. If necessary, widen the panel to make this button visible and active.
353 Effects and transitions Change transition duration You can edit a transition’s duration in either a Timeline panel or the Effect Controls panel. The default duration for transitions is initially set to 1 second. Lengthening a transition’s duration requires that one or both clips have enough trimmed frames to accommodate a longer transition. (See Clip handles and transitions.
354 Effects and transitions 2 In the Effect Controls panel, adjust settings: Edge selectors Change the orientation or direction of the transition. Click an Edge selector arrow on the transition’s thumbnail. For example, the Barn Doors transition can be oriented vertically or horizontally. A transition doesn’t have Edge selectors if it has one orientation or if orientation isn’t applicable. Start and End sliders Set the percentage of the transition that is complete at the start and end of the transition.
355 Effects and transitions By default, a change in speed results in a corresponding change in duration, unless the clip is simultaneously trimmed. However, you can choose to ungang speed from duration in the Clip Speed/Duration dialog box. Then, when you increase the speed, Premiere Pro uses more of the clip to fill the duration between the In point and the Out point. And when you decrease the speed, Premiere Pro uses less of the clip to fill the duration.
356 Effects and transitions • To keep the clips following the changing clips adjacent to them, click Ripple Edit, Shifting Trailing Clips. (This option is available only when changing the speed or duration of clips in a Timeline panel.) 4 Click OK. In a Timeline panel, clips with speed changes are indicated with a percentage of the original speed.
357 Effects and transitions When you vary the speed of a clip with linked audio and video, the audio remains linked to the video, but remains at 100% speed. The audio does not remain synchronized with the video. You create variable speed changes by applying speed keyframes. You can apply speed keyframes in the Effect Controls panel, or in a clip in a Timeline panel.
358 Effects and transitions A Speed keyframe B White speed-control track C Rubber band 3 Do one of the following: • Drag the rubber band on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion. (Optional) Press Shift while dragging to limit the speed change values to 5% increments. • Shift-drag the speed keyframe to the left or right to change the speed of the portion to the left of the speed keyframe. Both the speed and duration of the segment change.
359 Effects and transitions 3 Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end. A tool tip shows the speed as a negative percentage of the original speed. The Program monitor displays two panes: the static frame where you initiated the drag, and a dynamically updating frame that reverse playback returns to before switching to forward speed.
360 Effects and transitions Note: Changing the default duration of still images does not affect the duration of still images that are already part of a sequence or that have already been imported. You will have to re-import the images after you change the default duration to get a different duration for the images. Blend frames for smooth motion Motion in a clip may appear jerky when you change the speed of a clip or output to a different frame rate.
361 Effects and transitions Note: Direct manipulation is also available for the following effects: Corner Pin, Crop, Garbage Matte, Mirror, Transform, and Twirl. 1 Select a clip in a Timeline panel, and move the current-time indicator to a location of a frame within the clip. Ensure that the Uniform Scale checkbox of the Motion effect is deselected.
362 Effects and transitions Scale assets to frame size 1 Right-click (Windows), or Control-click (Mac OS) an asset in a Timeline. 2 Select Scale To Frame Size. Andrew Devis explains how the 'Default Scale to Frame Size' preference works in this video tutorial. Scale assets automatically 1 Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS). 2 Select Default Scale To Frame Size. 3 Click OK.
363 Effects and transitions Note: If you don’t see the clip handles, change the Zoom Level in the Program Monitor to a smaller percentage so that the gray work area around the video frame appears. 3 Move the current-time indicator to the frame where you want to start the animation—any frame between the clip’s current In point to its Out point. 4 In the Effect Controls panel, expand the Motion effect and click the Toggle Animation button next to each property you want to define at that point in time.
364 Effects and transitions 2 Move the current-time indicator in either a Timeline panel or the Effect Controls panel to the time where you want to start the animation—any frame between the clip’s current In point and its Out point. 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.
365 Effects and transitions 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. Change the horizontal and vertical anchor controls to new values. Another keyframe marks the location of the clip anchor point at the selected frame.
366 Effects and transitions Resize an adjustment layer to highlight an area You can add an effect to an adjustment layer, like a tint or color correction effect, and then resize it. The technique allows you to highlight an area of the screen. 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.
367 Effects and transitions For information about scopes, see Waveform monitors and vectorscope. Set up a Color Correction workspace The following is a suggested procedure for setting up your color correction workspace. It’s meant only as a starting point so you can configure the workspace to suit your style of working. 1 (Optional) Connect a calibrated NTSC or PAL monitor to your computer.
368 Effects and transitions Apply the Color Correction effects The following procedure is a general overview of applying the Color Correction effects. Read on to know more about making adjustments using the specific controls. 1 Set up your workspace for color correction. If possible, make sure that a calibrated NTSC or PAL monitor is connected to your computer. 2 Apply one of the Color Correction effects to the clip in a Timeline panel.
369 Effects and transitions Apply SpeedGrade color-correction within Premiere Pro The 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 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 Working with Adobe SpeedGrade.
370 Effects and transitions 3 (Optional) Select the Show Split View option if you want to view a before and after comparison of your adjustment in the Program Monitor. You can specify whether the split view is horizontal or vertical by choosing from the Layout menu. You can also adjust the relative proportion of the before and after views.
371 Effects and transitions A Hue Angle B Balance Magnitude C Balance Gain D Balance Angle The Saturation slider controls the color saturation in the video. Moving the slider to 0 desaturates the image so only the luminance values show (an image made up of white, grays, and black). Moving the slider to the right increases the saturation. Adjust color balance and saturation Although the following procedure uses the color wheel adjustments.
372 Effects and transitions 5 (Optional for the Three-way Color Corrector only) Do any of the following: • To restrict your color correction to a specific tonal range, choose Shadows, Midtones, or Highlights from the Tonal Range menu. Choosing Master applies color correction to the entire tonal range of the image. If necessary, use the Tonal Range Definition controls to define the different tonal ranges.
373 Effects and transitions Opening a scope in a Reference Monitor that’s ganged to the Program Monitor lets you view the luminance, chrominance, or both values as you make the curves adjustments. If you’re using the Vectorscope, there should be minimal green shading in the areas outside of the center of the scope. Areas outside the center define the level of color saturation.
374 Effects and transitions Adjust luminance using levels The Fast Color Corrector and the Three-way Color Corrector effects have Input Levels and Output Levels controls to adjust the luminance in a clip. The controls are similar to the ones in Photoshop’s Levels dialog box. In the Fast Color Corrector effect, control settings are applied to all three color channels in a clip.
375 Effects and transitions 8 Use the following controls to set the black, gray, and white input levels: Black Level eyedropper Maps the sampled tone to the setting of the Black Output slider. Click an area in the Program Monitor that you want to be the darkest value in the image. You can also click the color swatch to open the Adobe Color Picker and select a color to define the darkest shadow in the image. Gray Level eyedropper Maps the sampled tone to a medium gray (level 128).
376 Effects and transitions A Selected color B Color field C Color slider D Adjusted color E Original color F Color values 1 In the Effect Controls panel, click the Color swatch property for an effect to display the Color Picker. 2 Select the component you want to use to display the color spectrum: H Displays all hues in the color slider.
377 Effects and transitions Note: As you adjust the color using the color slider and color spectrum, the numeric values change to indicate the new color. The top rectangle to the right of the color slider displays the new color; the bottom rectangle displays the original color. • For HSB, specify hue (H) as an angle, from 0° to 360°, that corresponds to a location on the color wheel. Specify saturation (S) and brightness (B) as percentages (0 to 100). • For RGB, specify component values.
378 Effects and transitions By specifying a color or range of colors using the Secondary Color Correction, you are isolating a color correction effect to specific areas of an image. This is similar to making a selection or masking an image in Photoshop. For example, you define a range of colors that selects only a blue shirt in an image. You can then change the color of the shirt without affecting any other areas of the image.
379 Effects and transitions 2 If you want to replace a color in the displayed clip with a color in another clip in your project, open that other clip in the Source Monitor. 3 Apply the Color Replace effect to the clip you want to adjust. 4 In the Effect Controls panel, click the Setup icon for the Color Replace effect. 5 In the Color Replace Settings dialog box, move the pointer over the Clip Sample image so it becomes an eyedropper, and then click to choose the color to be replaced.
380 Effects and transitions 3 Decrease or increase a channel’s contribution to the output channel by doing any of the following to a source color channel: • Scrub an underlined value to the left or right. • Click an underlined value, type a value between –200% and +200% in the value box, and press Enter (Windows) or Return (Mac OS). • Click the triangle to expand the Channel Mixer controls, and drag the slider to the left or right.
381 Effects and transitions If the clip is already selected in a Timeline panel, you can drag the Convolution Kernel to the Video Effects section of the Effect Controls panel. 3 In the Effect Controls panel, click the triangle next to Convolution Kernel to expand it. Each of the settings that start with the letter “M” represents a cell in a 3x3 matrix. For example “M11” represents the cell at row 1, column 1. “M22” represents the cell in the center of the matrix.
382 Effects and transitions Omni Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Spotlight Casts an elliptical beam of light. 5 To specify a color for the light, do one of the following: • Click the color swatch, select a color using the Adobe Color Picker, and then click OK. • Click the Eyedropper icon and then click anywhere on the computer desktop to select a color.
383 Effects and transitions 10 (Optional) If you added a clip to use as a bump layer (Lighting Effects texture), choose the track containing the bump layer clip from the Bump Layer menu. Use the controls to adjust the properties for the bump layer. Apply Lighting Effects textures A bump layer in the Lighting Effects lets you use the pattern or texture from a clip to control how light reflects off an image. Using a clip with textures like paper or water can create a 3D-like lighting effect.
384 Effects and transitions 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. When this option is selected, all the three color wheels behave as the Master color wheel. A change in one wheel is reflected in the others.
385 Effects and transitions Audio effects and transitions For video effects, see Effects and transitions reference . 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.
386 Effects and transitions Very high settings can produce interesting special effects (as in the Another Dimension preset). Depth Determines the maximum variation in amplitude that occurs. For example, you can alter the amplitude of a chorused voice so that it is 5 dB louder or quieter than the original. At extremely low settings (less than 1 dB), the depth may be unnoticeable unless the Modulation Rate is set extremely high.
387 Effects and transitions Audition When selected, this control lets you hear only the sounds that will be removed. When the actual contents of the audio can be heard in audition mode, this is a strong indication that the threshold is set too low. If the threshold is left unadjusted the audio signal will be harmed. DeEsser effect The DeEsser effect removes sibilance and other high frequency “SSS”-type sounds, which are often created when a narrator or vocalist pronounces the letters “s” and “t.
388 Effects and transitions Offset Sets an offset value between the automatically detected noise floor and the value defined by the user. This is limited to a range between –10 and +10 dB. Offset allows additional control when the automatic denoising is not sufficient. Dynamics effect The Dynamics effect provides a set of controls that can be combined or used independently to adjust audio. Use either the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view.
389 Effects and transitions Threshold Specifies the maximum level of the signal, between –12 and 0 dB. All signals that exceed the threshold are reduced to the same level as the threshold. Release Specifies the time (between 10 and 500 milliseconds) required for the gain to return to the normal level after a clip occurs. SoftClip Reduces clipping similar to Limiter but doesn’t use hard limiting. This control adds an edge to some signals to better define them within an overall mix.
390 Effects and transitions Feedback Determines the percentage of the flanged signal that is fed back into the flanger. With no feedback, the effect uses only the original signal. With feedback added, the effect uses a percentage of the affected signal from before the current point of playback. Delay Sets the point in milliseconds at which flanging starts behind the original signal. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting.
391 Effects and transitions Level 1-4 Controls the volume of each echo. Mix Controls the amount of delayed and nondelayed echo. Notch effect The Notch effect removes frequencies that are near the specified center. This effect is available for 5.1, stereo, or mono clips. Center Specifies the frequency to be removed. If you are removing power-line hum, type a value that matches the power-line frequency used by the electrical system where the clip was recorded.
392 Effects and transitions PitchShifter effect The PitchShifter effect adjusts the pitch of the incoming signal. Use this effect to deepen high voices or vice versa. You can adjust each property using graphical controls in the Custom Setup view, or by changing values in the Individual Parameters view. This effect is available for 5.1, stereo, or mono clips. Pitch Specifies the change in pitch in semitone steps. The adjustable range is between –12 and +12 semitones.
393 Effects and transitions Volume effect Use the Volume effect in place of the Fixed Volume effect if you want to render Volume before other Standard effects. The Volume effect creates an envelope for a clip so that you can increase the audio level without clipping. Clipping occurs when the signal exceeds the dynamic range that’s acceptable for your hardware, often resulting in distorted audio. Positive values indicate an increase in volume; negative values indicate a decrease in volume.
394 Effects and transitions 2 Choose Set Selected As Default Transition from the context menu. Set the default duration for audio transitions 1 Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS). 2 In the Preferences dialog box, enter a value for the Audio Transition Default Duration. Crossfade between audio clips 1 If necessary, click the triangle to the left of each track name in a Timeline panel to expand the audio tracks that you want to crossfade.
395 Effects and transitions Applying effects to audio Premiere Pro includes VST (Virtual Studio Technology) audio plug-ins designed to alter or enhance the properties of audio clips. Most of these effects are available for mono, stereo, and 5.1 clips, and can be applied to either clips or tracks, unless specified otherwise. If you have Adobe Soundbooth installed, Premiere Pro automatically locates, recognizes, and uses the VST effects from that program as well.
396 Effects and transitions 3 If needed, choose the effect parameter you want to edit from the menu at the bottom of the Effects And Sends panel. 4 Use the controls above the parameter menu to adjust the effect options. Note: For certain VST plug-in effects, you can adjust the effect options in a separate panel containing option controls. Double-click the track effect name to open a VST editor panel.
397 Effects and transitions Working with VST effects Premiere Pro supports the Steinberg VST (Virtual Studio Technology) audio plug-in format so that you can add VST audio effects from third-party vendors. Premiere Pro includes VST plug-in effects that are available in both the Audio Mixer and the Effect Controls panel. Track-based VST plug-ins may provide additional controls. Apply VST effects the same way you apply other audio effects to tracks or clips.
398 Effects and transitions Note: If an effect doesn’t support presets, Default is the only choice. Default resets all option values for the effect. More Help topics Route tracks with sends Work with submixes 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.
399 Effects and transitions Interlaced video, noninterlaced video, and progressive scanning A For interlaced video, entire upper field (odd-numbered lines) is drawn to screen first, from top to bottom, in one pass. B Next, entire lower field (even-numbered lines) is drawn to screen, from top to bottom, in one pass. C For noninterlaced video, entire frame (all lines in counting order) is drawn to screen, from top to bottom, in one pass.
400 Effects and transitions Create interlaced or non-interlaced clips Ordinarily, individual interlaced fields aren’t apparent to a viewer. However, playing a clip in slow-motion, creating a freeze frame, or exporting a field as a still image can make a single field distinguishable. For these purposes, it is sometimes preferable to deinterlace the image—that is, replace pairs of consecutive interlaced fields with single noninterlaced frames.
401 Effects and transitions More Help topics Choose fields in the Source and Program Monitors Blend frames for smooth motion Change sequence settings Choose fields in the Source and Program Monitors 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.
402 Effects and transitions In this video tutorial, Phil Hawkins, from Infinite Skills, shows how to create a reusable Picture-in-Picture effect. Dennis Radeke shows you how to make a picture-in-picture effect in this video tutorial on AdobeTV. Zoom and pan a still image The technique of zooming and panning still images has also come to be known as “the Ken Burns effect”, since documentarian Ken Burns has made extensive use of it.
403 Effects and transitions Create a transparent video clip Lightning effect Lightning effect Reverb effect Last updated 12/16/2014
404 Chapter 11: Animation and keyframes Animating effects 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. Changing it from a shade of pink to a shade of blue over a few seconds animates its color.
405 Animation and keyframes • Keyframes for audio track effects can be edited only in a Timeline panel or in the Audio Mixer. Keyframes for audio clip effects are like keyframes for video clip effects; they can be edited in a Timeline panel or in the Effect Controls panel.? Note: You can modify the panel arrangement further and choose Window > Workspace > New Workspace to save the modified configuration as your own workspace.
406 Animation and keyframes 3 In the Effect Controls panel, click the triangle to expand the effect that you want to add keyframes to, and then click the Toggle Animation icon to activate keyframes for an effect property. 4 Do one of the following to display the effect property’s graph: • (Effect Controls panel) Click the triangle to expand the effect property and display its Value and Velocity graphs. • (Timeline panel) Choose the effect property from the effect menu next to the clip or track name.
407 Animation and keyframes 2 Do one of the following: • Select one or more keyframes and choose Edit > Clear. You can also press Delete. • Navigate the current-time indicator to the keyframe and click the Add/Remove Keyframe button. • (Effect Controls panel only) To delete all keyframes for an effect property, click the Toggle Animation button to the left of the name of the effect or property. When prompted to confirm your decision, click OK.
408 Animation and keyframes 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.
409 Animation and keyframes • (Effect Controls panel only) Shift-drag the current-time indicator to snap to a keyframe. Modify keyframe values Edit keyframe graphs in the Effect Controls panel Once you activate keyframing for an effect’s property, you can display the effect’s Value and Velocity graphs. Value graphs provide information about the value of nonspatial keyframes (such as the Scale property of the Motion effect) at any point in time.
410 Animation and keyframes More Help topics Adjust or reset controls in the Effect Controls panel Apply effects to clips Moving and copying keyframes 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.
411 Animation and keyframes 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.
412 Animation and keyframes 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.
413 Animation and keyframes Change the keyframe interpolation method By changing and adjusting keyframe interpolation, you gain precise control over the rate of changes in your animations. You can choose either an interpolation type from a context menu or you can directly change one keyframe type to another by manually adjusting the keyframe or the handles. Note: You can also use the Ease In and Ease Out commands to quickly adjust keyframe interpolation.
414 Animation and keyframes Control change using Bezier keyframe interpolation Bezier handles are two-directional controls that change the curve of the line segment between the handle and the next point on either side. The farther you pull a handle from its keyframe (center point), the more the line bends or curves. The curve that you create by dragging the Bezier handle determines how smoothly the effect changes occur as the animation property approaches and leaves a keyframe.
415 Animation and keyframes 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.
416 Chapter 12: Compositing Compositing, alpha channels, and adjusting clip opacity Adobe After Effects provides a wide 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. You can make portions of an image transparent using any of several features in Premiere Pro, inlcuding mattes and effects.
417 Compositing When you view an alpha channel in the After Effects Composition panel or a Premiere Pro Monitor panel, white indicates complete opacity, black indicates complete transparency, and shades of gray indicate partial transparency. A matte is a layer (or any of its channels) that defines the transparent areas of that layer or another layer. White defines opaque areas, and black defines transparent areas.
418 Compositing Blend clips with a matte using the Track Matte Key effect You can blend clips with a matte (typically, a black and white image, or an image from the Titler.) using the Track Matte Key effect. For more information, see the article, Track Matte Key effect . This video shows how to create a track matte effect. Specify clip opacity in a Timeline panel 1 Expand the view of a track, if necessary, by clicking the triangle next to the track name to expand its options.
419 Compositing Blending modes Using blending modes 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. 1 In a Timeline, place a clip on a track higher than a track where another clip is located. Premiere Pro superimposes, or blends, the clip in the higher track over the clip in the lower track. 2 Select the clip in the higher track, and select the Effect Controls panel to make it active.
420 Compositing • The result color is the output of the blending operation; the color of the composite. Normal The result color is the source color. This mode ignores the underlying color. Normal is the default mode. Dissolve The result color for each pixel is either the source color or the underlying color. The probability that the result color is the source color depends on the opacity of the source. If opacity of the source is 100%, then the result color is the source color.
421 Compositing Vivid Light Burns or dodges the colors by increasing or decreasing the contrast, depending on the underlying color. If the underlying color is lighter than 50% gray, the layer is lightened because the contrast is decreased. If the underlying color is darker than 50% gray, the layer is darkened because the contrast is increased. Linear Light Burns or dodges the colors by decreasing or increasing the brightness, depending on the underlying color.
422 Chapter 13: Exporting Workflow and overview for exporting Types of exporting You can export video from a sequence in the form best suited for further editing or for a viewing audience. Premiere Pro supports export in formats for various uses and target devices. Exporting files for further editing You can export editable movie or audio files. Then, you can preview your work with effects and transitions fully rendered. Also, you can continue editing the files in applications other than Premiere Pro.
423 Exporting Adobe Media Encoder Premiere Pro and other applications employ Adobe Media Encoder, a standalone encoding application. When you specify export settings in the Export Settings dialog box and click Export, Premiere Pro sends the export request to the Adobe Media Encoder. From the Export Settings dialog box, click Queue to send Premiere Pro sequences into the standalone Adobe Media Encoder queue.
424 Exporting More Help topics Encoding and exporting File formats supported for export Exporting projects for other applications 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.
425 Exporting Ensure that the project you want to export conforms to general AAF specifications and is compatible with an Avid Media Composer product. Consider each of the following: • The AAF files exported by Premiere Pro are compatible with the Avid Media Composer family of editing products. These AAF files have not been tested with other AAF importers. • Transitions should appear only between two clips, not adjacent to the beginning or end of a clip.
426 Exporting 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.
427 Exporting 2 Click the Export Frame button . The Export Frame dialog box opens with the name field in text edit mode. The entire name is selected for editing. By default, the frame name contains the name of the source clip or sequence, and an auto-incremented number. For example, Premiere Pro names frames exported from a clip named Clip.mov, "Clip.mov.Still001," "Clip.mov.Still002," "Clip.mov.Still003," and so on.
428 Exporting 6 Browse to the location where you want to save the file. You can navigate to the root of the mounted P2 card or to your destination folder of choice, and click Save. If a P2 compliant file structure is present at the destination, Premiere Pro adds the exported clips to the existing folders. If the P2 compliant file structure is not present, Premiere Pro creates one at the destination. 7 Define the section of the clip or sequence you want to export.
429 Exporting 2 (Optional) Add Encore chapter markers, if desired. See Add Encore chapter markers . 3 (Optional) If you are producing a sequence for standard-definition output that includes high-definition clips, select Maximum Render Quality before using Dynamic Link to send the sequence to Encore for DVD authoring. This does not apply to HD sequences that use Dynamic Link for Blu-Ray Disc authoring. 4 Choose File > Adobe Dynamic Link > Send To Encore.
430 Exporting To give your recording deck additional time before your video sequence starts and after it ends, add black before and after the sequence in the Timeline window. If you plan to have a postproduction facility duplicate your videotapes, add a minimum of 30 seconds of color bars and tone at the beginning of the program to aid in video and audio calibration. (See Create color bars and a 1-kHz tone.) 1 Connect the device to the computer, turn it on, and set it to VTR, VCR, or Play.
431 Exporting • To have Premiere Pro roll the tape before the specified start time so that the deck can attain a constant speed, select Preroll and type the number of frames you want the tape to play before recording begins. For many decks, 150 frames is sufficient. 5 In the Options section, select any of the following options: Abort After Dropped Frames Ends export automatically if a specified number of frames is not exported successfully. Specify the number in the box.
432 Exporting Exporting for the Web and mobile devices Adobe Premiere Pro lets you easily create videos that can be exported to the Web or to mobile devices. To export your project, click on the sequence and select File > Export > Media. In the Export Settings dialog box, you can choose the most optimal file format, frame size, bit rate or ready-made presets for faster upload time and better playback quality. Here are a few tips to help you choose the most optimal settings.
433 Exporting Follow the same guidelines for audio The same considerations apply to audio production as to video production. To achieve good audio compression, begin with clean audio. If your project contains audio from a CD, transfer the audio files directly from the CD to your hard disk. Do not record the sound through the analog input of your sound card. The sound card introduces an unnecessary digital-to-analog and analog-to-digital conversion that can create noise in your source audio.
434 Exporting • Work at an aspect ratio consistent with mobile output. New project presets (available only on Windows) make this easy. The frame dimensions are larger than the ultimate output size (working at 176 x 144 can be difficult, for example, for titling), but they match the output-frame aspect ratio to facilitate easy encoding. Each Windows project preset renders to uncompressed video, but most computers can manage the data rate at these reduced frame sizes and halved frame rates.
435 Exporting 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.
436 Exporting • 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.
437 Exporting For detailed information, see Direct Link workflow between Premiere Pro and SpeedGrade . Apply SpeedGrade color-correction Looks within Premiere Pro Adobe Premiere Pro CC includes the Lumetri™ Deep Color Engine that lets you apply .look files from SpeedGrade to your clips. The Lumetri Looks browser in the Effects panel provides you a library of preset Lumetri looks.
438 Exporting The organization and metadata information from Prelude is carried over to Adobe Premiere Pro. This seamless workflow reduces post-production time and effort when you create the final cut of a movie. Exporting a Premiere Pro project or Final Cut Pro XML file To export a Premiere Pro project file that contains clips, subclips, markers, and rough cuts from Adobe Prelude, do the following: 1 Choose File > Export. 2 The Export dialog box launches. 3 Choose the destination for the project file.
439 Chapter 14: System Requirements System requirements for Premiere Pro System requirements for Premiere Pro Last updated 12/16/2014
