Adobe® Premiere® Pro CC Help
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iii Contents Chapter 1: What's New New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Chapter 2: Get Started Learn Media Encoder CC tutorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv PREMIERE PRO Contents Capturing and digitizing footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Batch capturing and recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Working with timecode . . . . . . . . . . . . . . . . . . . . . . . .
v PREMIERE PRO Contents Editing audio in a Timeline panel Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi PREMIERE PRO Contents Chapter 14: Animation and keyframes Animating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 Adding, navigating, and setting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Moving and copying keyframes .
1 Chapter 1: What's New New features summary The November 2015 release of Premiere Pro CC delivers UltraHD and HDR format support, powerful slow-motion capabilities, improved integration with CC libraries and Adobe Stock, enhanced touch capabilities, and many other features that help you create compelling video content.
2 What's New In this release, when you purchase an asset (image or video) after trying it out, you do not have to replace the image in sequences in which you edited the asset. The original, full-resolution, non-watermarked content is automatically replaced for you in the Project panel and in any sequences in which you edited the asset. To learn more, see Using Adobe Stock and Creative Cloud Libraries in Premiere Pro.
3 What's New High Dynamic Range (HDR) input from Dolby Mezzanine files Premiere Pro now supports import of PQ JPEG2000 MXF files, bringing them into the HDR working space of Premiere Pro, and preserving overbrights. You can adjust these overbrights in the Color panel using the new HDR mode, and view them in the Scopes panel.
4 What's New Recent tab: Displays the most recently opened Premiere Pro projects. You can also click the New button to create a new project, or the Open button to browse to a project. Libraries tab: Displays a list of your Creative Cloud Libraries. When you click a Libraries card in the engagement stream, that public library is downloaded to your computer and added to your CC Library panel.
5 What's New For more information, see New Start experience in Creative Cloud apps FAQ . Stacked Panel layout option A panel frame is now called a panel group in the panel tab (options) menu. You can choose to present Panels in a panel group in a stacked state or in the traditional tabbed state. Stacked panels are expanded and collapsed with a single click of the mouse on the panel header, or a tap of the finger when using a touch surface.
6 What's New Ability to arrange multicam angles across multiple pages The monitor's Multicam view now includes camera pages. You can set any number of cameras to display per page, from 1 to the maximum number available in the multi-camera source sequence. With this feature, you can divide a large number of cameras into smaller groups; this improves playback performance and increases the size of the multi-camera sources.
7 What's New Exporting J2K MXF files in PQ space Premiere Pro's J2K exporter now includes a 12-bit PQ option. When you select the RGB 4:4:4 12-Bit PQ option from the Chroma and Depth pop-up menu, a new drop-down list allows you to select the Color Space: Rec709, Rec2020, or DCI P3. Video Limiter effect added to Export Settings The Video Limiter effect has been added to the Export Settings dialog box. This helps you to apply the Video Limiter effect quickly to the entire video during export.
8 Chapter 2: Get Started Learn Media Encoder CC tutorials Learn Media Encoder CC tutorials Last updated 11/30/2015
9 Chapter 3: Companion mobile apps Adobe Hue CC FAQ Adobe Hue CC is now a part of Adobe Capture CC as Looks. The Adobe Hue CC mobile app lets you capture color and light from things that you see around you and save them as Looks, which you can then use like filters to enhance the appearance of videos in Adobe Premiere Pro, After Effects, and Premiere Clip. Hue allows you to play with colors in the 3D space so that you can refine each Look before saving it to your Creative Cloud Library.
10 • Where do I go for help and support for Adobe Hue? View a tutorial to get started, read the frequently asked questions in this article, read the Adobe Hue Getting Startedand Adobe Hue CC Mobile to Desktop Workflowsarticles, and visit the Adobe Hue community page. Using Adobe Hue CC • What is a Look? A Look is a small file that enhances the appearance of video images by instantly applying a series of saturation adjustments.
11 Adobe Hue CC captures the color and light in a scene or image and uses it to create a Look. You can capture inspiring Looks live from the camera or from an existing image in your camera roll or Creative Cloud account. 1 Tap the + icon at the bottom of the screen. Choose either Camera, Camera Roll, or Creative Cloud. Adobe Hue displays the color and light information from the source image. 2 Tap the Camera Shutter icon to create your Look.
12 To share Looks using a browser: 1 Log in to Adobe.com with your Creative Cloud account and select My Assets > Libraries. 2 Select an existing Library or create a new one. 3 Select Collaborate from the drop-down menu and enter your collaborator’s email address to invite that person to the Library. • I like the way the Look affects my preview image. Can I save preview images or videos with the Look applied? Yes. You can save an image from your Camera Roll with the Look applied.
13 3 After you’ve selected your media, choose a project type: Automatic or Freeform. Note: If Automatic is selected, Premiere Clip will generate a great video for you, edited to the beats of your soundtrack. You can customize the pace, music, and sequence order. If Freeform is selected, you will have full customizing capabilities at your fingertips including trimming, splitting clips, applying custom Looks, smart audio effects, and more.
14 4 Tap Split at Playhead. • How do I make lighting adjustments to a clip? In the Freeform editor: 1 Tap a clip to select it. 2 From the Clip options tool bar, tap the Shutter icon. 3 You can adjust the sliders for Exposure, Highlights, or Shadows. • How do I adjust audio for a video clip? You can adjust the volume and fade settings for audio associated with a clip. In the Freeform editor: 1 Tap a clip to select it. 2 From the Clip options tool bar, tap the Audio icon.
15 • Tap Replace to select another soundtrack. • Tap Delete Soundtrack to remove background audio. • Adjust the Volume of the soundtrack. • Enable Sync to Music. When this is on, trimming a clip will snap to the beats of the soundtrack. • Enable Auto Mix. Auto Mix causes the soundtrack to play quietly when there is sound in the clip. • Enable or disable Audio Fade In and Audio Fade Out.
16 2 Tap the Share icon in the top-right corner, and then tap Create a Video in Clip. (Alternatively, you can tap on “…” next to the collection that you’d like to use for your project in the Organize view. Then tap on Create a Video in Clip.) 3 Premiere Clip will launch and import your assets from Lightroom to create an Automatic project. You can make further edits in the Freeform editor by tapping the Filmstrip icon and Convert to Freeform.
17 Edit Premiere Clip videos in Premiere Pro Adobe Premiere Clip is a free mobile app that makes it fast and simple to transform clips into beautifully edited videos. Lightweight yet feature-rich, Premiere Clip enables you to make videos where your media is–on your mobile device or iPad. Adobe magic makes your videos look and sound great, bringing Hollywood quality to your fingertips. Thanks to CreativeSync, you have access to your Premiere Clip projects across all of your devices.
18 3 The Project Sent message appears after the project is synced to your Creative Cloud account.
19 Last updated 11/30/2015
20 Importing your Premiere Clip in to Premiere Pro You can import your Premiere Clip XML file as a Premiere Pro project to continue editing. 1 Launch Premiere Pro on your computer (if you are not a paid CC member, download a free trial here). From the menu bar, select File > Convert Premiere Clip Project. The AdobePremiereClipExport folder in your Creative Cloud Files containing your exported media and Premiere Clip files opens. 2 Click on your Premiere Clip project XML file and then click “Open.
21 Adobe Hue CC captures the color and light in a scene or image and uses it to create a Look. You can capture inspiring Looks live from the camera, or from an existing image in your Camera Roll or Creative Cloud account. 1 Tap the + icon at the bottom of the screen and choose either Camera, Camera Roll, or Creative Cloud. Adobe Hue displays the color and light information from the source image. 2 Tap the camera shutter icon to create your Look.
22 You can share a Look with other collaborators by creating a shared Look Library and sending them an invitation to collaborate. 1 In Adobe Hue, navigate to the Library you wish to share by tapping the Library name at the top of your screen. 2 From within the desired Library, tap the Additional Options icon (“…”) and select Collaborate from the drop down menu. 3 Enter your collaborator's email address, and tap Invite.
23 Organizing Looks in your Creative Cloud library Your Adobe Creative Cloud account comes with online storage so that your files are available to you anywhere and on any device or computer. Whether you log in to your account from your desktop, tablet, or phone, Adobe Creative Cloud keeps all the files in sync. Any additions, modifications, or deletions are reflected on all connected computers and devices.
24 Using Looks from Adobe Capture in After Effects projects You can use After Effects to add professional, industry-standard motion graphics and visual effects to your videos. Looks captured from real-life inspirations using Adobe Capture are valuable assets that help you lift the visual appeal of your videos. To apply a custom Look in After Effects, do one of the following: • Right-click on the Look in the Library panel and choose Apply Look.
25 Chapter 4: Collaboration Premiere Pro and Adobe Anywhere About Adobe Anywhere Adobe Anywhere is currently available only for Creative Cloud for enterprise customers. Adobe Anywhere is a collaborative workflow platform that enables teams using Premiere Pro and Prelude to work with centralized media and assets across standard networks. Adobe Anywhere complements Adobe Creative Cloud to enable deep collaboration features for production workflows.
26 Your system integrator can provide this information. 1 To securely connect to the remote server, select Use secure connection. 2 Enter your user name and password and click Sign In. Set up a new Adobe Anywhere Production All work in the Adobe Anywhere environment takes place within a Production. A Production can be best described as a shared collection of media assets and sequences, and their associated metadata.
27 Resolve conflicts Before sharing changes, resolve any differences between the sandboxed version and the current, shared version of the Production. Because multiple people can work in the same Production and at the same time, Adobe Anywhere provides protection against unintended conflicts or overwrites. If users are independently working on different parts of a Production, then no conflicts occur when they share their changes.
28 Convert a project to a Production You can easily convert a Premiere Pro project file to a Production. Choose File > Adobe Anywhere > Convert Project to Production.
29 More Help topics Adobe Anywhere | Features Adobe Anywhere | FAQ Creative Cloud Libraries in Premiere Pro Last updated 11/30/2015
30 About Creative Cloud Libraries Creative Cloud Libraries let you capture inspiration on the go! You can capture assets from various Creative Cloud desktop apps, mobile apps, or download assets from Creative Cloud Market or Adobe Stock to use in your projects. To learn more, see Creative Cloud Libraries. Video : Use Creative Cloud Libraries in post-production Learn how to use Creative Cloud Libraries to organize, reuse and share creative assets in your post-production workflow.
31 To create a library, do the following: 1 Click the drop-down in the Libraries panel, and select Create New Library, or, click the pop-up panel, and select Create New Library. 2 Type a name for the library, and click Create. Add Looks to a library You can save color grading information that you applied to a clip as a Look. To upload a Look to your library, follow these steps: 1 Select a clip or a track item in a sequence in the Timeline panel.
32 Add assets from Adobe Stock Adobe Stock is a service that sells millions of high-quality, royalty-free photos, illustrations, and graphics. You can search for Adobe Stock assets directly from within Premiere Pro: 1 Select Window > Libraries to open the Libraries panel in Premiere Pro. 2 Enter the search keywords in the Search Adobe Stock search bar at the top of the Libraries panel. The search results are displayed right within the panel.
33 • A Lumetri Color effect is added to the master clip in the Effect Controls panel. When you drag a Look that has a .cube filename extension, the Input LUT field under the Basic Correction section in the Lumetri Color panel is set to that Look.When you drag a Look that has a .look filename extension, the Look field under the Creative section in the Lumetri Color panel is set to that Look.
34 Chapter 5: Workspace and workflows Color workflows Color grading in Premiere Pro Premiere Pro provides you professional-quality color grading and color correction tools that let you grade your footage directly on your editing timeline. These Color tools are available within a Lumetri Color workspace in Premiere Pro. Using these tools, you can adjust color, contrast, and light in your sequences in new and innovative ways.
35 Workspace and workflows A Lumetri Scopes panel B Lumetri Color panel with curves, color wheels, and slider adjustments The Lumetri Color panel offers powerful and easy-to-use color tools, like curves, color wheels, and slider arrangements, arranged in different sections. Each section of the Lumetri Color panel focuses on a specific task of the color workflow.
36 Workspace and workflows Apply basic color correction Using controls in the Basic Correction section, you can correct video that’s too dark or too light, and adjust both the hue (color or chroma) and luminance (exposure and contrast) in your clip. To adjust a control, drag the slider until you achieve the desired result. Or, you can set a specific value in the box next to the sliders. Click the current value to select the box and type a new value.
37 Workspace and workflows Highlights Adjusts bright areas. Drag the slider to the left to darken highlights. Drag to the right to brighten highlights while minimizing clipping. Shadows Adjusts dark areas. Drag the slider to the left to darken shadows while minimizing clipping. Drag to the right to brighten shadows and recover shadow details. Whites Adjusts white clipping. Drag the slider to the left to reduce clipping in highlights. Drag to the right to increase highlight clipping.
38 Workspace and workflows • Adjustments Faded Film Applies a faded film effect to your video. Drag the sliders to the right or left until you achieve the desired vintage look. Sharpen Adjusts edge definition to create a sharper-looking video. Drag the slider to the right to increase the edge definition, and drag to the left to decrease the edge definition. An increased edge definition makes the details in the video more pronounced.
39 Workspace and workflows Adjust RGB and Hue Saturation curves • RGB Curves A Select to adjust Red, Green, or Blue channels B Master curve that controls Luma C Click to add a control point RGB Curves let you adjust luma and tonal ranges across the clip using curves. • The master curve controls the Luma. Initially, the master curve is represented as a straight white diagonal line. The upper-right area of the line represents highlights and the lower-left area represents shadows.
40 Workspace and workflows A Click to add control points manually B Drag the white circle inward or outward to adjust saturation C Use Quick Color Selector to add control points automatically The Hue Saturation Curve wheel lets you saturate or desaturate specific hues. • Drag the white circle in the wheel outward to increase saturation. Drag it inwards toward the center to decrease saturation.
41 Workspace and workflows • If you use the slider control, drag the slider up to increase the value or drag the slider down to decrease the value. For example, drag the Shadow slider up to lighten shadows, and drag the Highlights shadow down to darken highlights. Apply Vignette Apply a vignette to achieve a look that is faded out at the edges, and bright at the center. The Vignette controls let you control the size, shape, and amount of lightening or darkening of the edges.
42 Workspace and workflows Apart from adjusting color settings in the Lumetri Color panel, you can reset and adjust settings from the Lumetri Color section in the Effect Controls panel. In addition, you can use the Mask tools in the Effect Controls panel to draw free-form masks and shape masks. You can draw a mask to correct a specific area in your clip using the Basic Correction color tools.
43 Workspace and workflows High Dynamic Range controls The High Dynamic Range controls in the Lumetri Color panel give you access to a wide range of shadow and highlight detail than conventional video. You can use the following tools to make precise color adjustments to your HDR video footage to show rich details: • HDR Switch: Switch the grading functions in Lumetri panel to HDR mode from the default SDR mode that work for a range of 0-100.
44 Workspace and workflows • Adjustable RGB curve range control: Adjust the ranges for shadows/midtones/highlights allowing an HDR range from 0-10000 Nits. View Lumetri scopes The Lumetri Scopes panel (Window > Lumetri Scopes) displays a set of resizeable built-in video scopes: Vectorscopes, Histogram, Parade, and Waveform. These scopes help you accurately evaluate and color-correct your clips. At any given point, you can display all five scopes in the Lumetri Scopes panel.
45 Workspace and workflows Vectorscopes You can select from two available vectorscopes: • Vectorscope HLS: Displays hue, saturation, lightness, and signal information in a glance • Vectorscope YUV: Displays a circular chart, similar to a color wheel, that shows the video’s chrominance information Waveform You can select from the following available waveform scopes: • RGB waveform: Displays the RGB signals overlaid to give a snapshot view of the signal level of all the color channels • Luma waveform: Disp
46 Workspace and workflows Using touch and gesture actions in Premiere Pro CC Now you can control Premiere Pro CC through touch with Microsoft Surface Pro and Windows. Use multi-touch devices to augment a powerful keyboard-driven workflow. Using simple gestures, you can do tasks such as building a cut, scrubbing media, marking in and out points, dragging and dropping clips onto a timeline, and making edits.
47 Workspace and workflows Two-finger scroll You can scroll panels that include vertical or horizontal scroll bars with two fingers moving in the same direction. In panels such as the Timeline that contains multiple scrolling zones, you can scroll in only one direction and in the zone where the scrolling gesture began.
48 Workspace and workflows Two-finger scrub Using two fingers in a gesture like the scroll gesture, you can scrub back and forth clips and sequences in the Project panel Icon View and in the Monitor panels similar to hover scrubbing. The scrubbing gesture moves the playhead for the clip/sequence in a 1:1 relationship based on the width of the thumbnail/monitor, up to 30 minutes in duration.
49 Workspace and workflows Thumbnail controls in the Project panel With the Project panel set to Icon View, you can select a clip to reveal a set of thumbnail controls that can be used to play, scrub, and mark a clip. Tap the buttons or drag to perform a scrub of that button’s action. The thumbnail controls always appear on a clip when using a touch gesture.
50 Workspace and workflows To edit a clip into a sequence, tap-and-hold or click-and-hold anywhere on the clip thumbnail that is not occupied by a thumbnail control button (the largest target zone for dragging is in the center), and then drag the clip to the Timeline panel or to the Program Monitor. Using touch only (no keyboard modifiers available), you can perform only Overwrite edits when dragging to the Timeline panel.
51 Workspace and workflows Workspaces Note: Premiere Pro CC now provides an enhanced, dynamic user interface with a new task-oriented workspaces layout, tabbed panels, and other improvements. If you are using a version earlier than the 2015 release of Premiere Pro CC, you might not find some of the panels and tools as described in this article. About workspaces Adobe video and audio applications provide a consistent, customizable workspace.
52 Workspace and workflows Customizing workspaces Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly. In Premiere Pro, Workspace buttons in the Workspaces panel provide you one-click access to default or custom workspaces.
53 Workspace and workflows A Workspace menu icon 2 In the Workspace menu that is displayed, click Edit Workspaces. Note: You can also access the Edit Workspaces dialog through Window > Workspaces > Edit Workspaces. 3 The Edit Workspaces dialog is displayed. Here you can reorder workspaces, move them into the Overflow menu or hide them. You can also delete a workspace. To revert any change that you made, click Cancel.
54 Workspace and workflows Save or reset workspaces Save a custom workspace As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them. ? Arrange the groups and panels as desired, and then do one of the following: • Click the Workspace menu icon and select Save as New Workspace.
55 Workspace and workflows 2 Make sure the preference to Import workspace from project (Window>Workspaces submenu) is toggled on. 3 Save a Premiere project with your custom workspace in use (selected). If you have more than one custom workspace, create a separate project for each of these other custom workspaces. 4 Copy the current Layouts folder as a backup in case you need to revert.
56 Workspace and workflows Dock or group panels 1 If the panel you want to dock or group is not visible, choose it from the Window menu. 2 Drag the required panel onto the desired drop zone. The application docks or groups according to the type of drop zone. Press the Ctrl key while dragging the panel to make the panel free-floating. You can choose to present panels in a panel group in a stacked state or in a tabbed state.
57 Workspace and workflows To quickly maximize a panel beneath the pointer, press the accent key. (Do not press Shift.) Press the accent key again to return the panel to its original size. 1 Do either of the following: • To resize either horizontally or vertically, position the pointer between two panel groups. The pointer becomes . a double-arrow • To resize in both directions at once, position the pointer at the intersection between three or more panel groups. .
58 Workspace and workflows Working with multiple monitors To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on one monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace. Brighten or darken the interface You can lower the brightness, as when working in a darkened editing suite or when making color corrections.
59 Workspace and workflows 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. 1 Hover your mouse over the panel you want to maximize. 2 Press the accent key (`). Typically, this key lies just to the left of the numeral one (1) key. Some see this key as the back quote key, or the tilde key.
60 Workspace and workflows A Selection tool B Ripple Edit tool C Rate Stretch tool D Slip tool E Pen tool F Hand tool G Track Select tool H Rolling Edit tool I Razor tool J Slide tool K Zoom tool Select any tool to activate it for use in a Timeline panel by clicking it or pressing its keyboard shortcut. Let the cursor hover over a tool to see its name and keyboard shortcut. Selection Tool The standard tool for selecting clips, menu items, and other objects in the user interface.
61 Workspace and workflows Hand Tool Select this tool to move the viewing area of a Timeline to the right or left. Drag left or right anywhere in the viewing area. Zoom Tool Select this tool to zoom in or out in a Timeline viewing area. Click in the viewing area to zoom in by one increment. Alt-click (Windows) or Option-click (Mac OS) to zoom out by one increment. For more information about using the Zoom Tool, see Navigate in a sequence. Open the Options panel • Select Window > Options.
62 Workspace and workflows A Name of selected clip B Data for selected clip C Tape name D Sequence timecode locations of clip Start and End points E Name of active sequence F Source timecode location in selected clip of current-time indicator G Source timecode location in clips on video tracks of current-time indicator H Source timecode location in clips on audio tracks of current-time indicator Note: You can change the default behavior of some of the panels in the Preferences dialog box. See Preferences.
63 Workspace and workflows A Playhead B TimeCode C Scaling options D Zoom scroll bar E Drag video F Drag audio G Settings button H In/Out Duration Last updated 11/30/2015
64 Workspace and workflows A Timecode B Scaling options C Playhead D Zoom scroll bar E Resolution F Settings button G Button editor 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.
65 Workspace and workflows Note: If your previews are rendered at a resolution below the sequence resolution, the playback resolution is actually a fraction of the preview resolution. For example, you can set your preview files to render at 1/2 the sequence frame size (1/2 resolution) and your playback resolution to 1/2 resolution. The rendered previews play back at 1/4 of original resolution (assuming that the resolution of the original media matched the sequence resolution).
66 Workspace and workflows Open or clear a clip in the Source Monitor To view and edit source clips listed in the Project panel or individual clip instances in a sequence, open the clips in the Source Monitor. The Source menu, accessed from the Source Monitor tab, lists open clips. 1 To open a clip, do any of the following: • Double-click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor.
67 Workspace and workflows Navigate clips in the Source menu in the Source Monitor You can set keyboard shortcuts for navigating multiple clips loaded into the Source Monitor. Keyboard shortcuts can speed toggling of clips, skipping to the first or last clip, or closing one or all the clips in the Source Monitor popup menu. 1 Select Edit > Keyboard Shortcuts (Windows) or Premiere Pro > Keyboard Shortcuts (Mac OS). The Keyboard Shortcuts dialog box opens.
68 Workspace and workflows Duration display Show the duration of the open clip or sequence. The duration is the time difference between the In point and the Out point for the clip or sequence. When no In point is set, the starting time of the clip or of the sequence is substituted. When no Out point is set, the Source Monitor uses the ending time of the clip to calculate duration. The Program Monitor uses the ending time of the last clip in the sequence to calculate duration.
69 Workspace and workflows View safe zones in the monitors A Action safe zone B Title safe zone Safe zone guides are for your reference and are not included in previews or export. ? Click the Settings button below the Source Monitor or Program Monitor and choose Safe Margins. You can also choose Safe Margins from the panel meu of the Source Monitor or Program Monitor. The standard action- and title-safe margins are 10% and 20%, respectively.
70 Workspace and workflows All Scopes Displays a waveform monitor, vectorscope, YCbCr Parade, and RGB Parade. Vectorscope Displays a vectorscope that measures the video’s chrominance, which includes hue and saturation. YC Waveform Displays a standard waveform monitor, which measures the video’s luminance in IRE. YCbCr Parade Displays a waveform monitor that measures the Y, Cb, and Cr components of the video separately, in IRE.
71 Workspace and workflows Change preferences You can customize the look and behavior of Premiere Pro, from determining the default length of transitions to setting the brightness of the user interface. Most of these preferences remain in effect until you change them. The preferences you set for scratch disks, however, are saved with your projects. Whenever you open a project, it automatically defaults to the scratch disks you selected for it when you set up that project.
72 Workspace and workflows Default Scale To Frame Size Select this preference to automatically scale imported assets to the project’s default frame size. Bins Bin behavior when double-clicking a bin, or double-clicking with the Shift or Option keys can be controlled in the Bins preference. Render Audio When Rendering Video Select this preference to let Premiere Pro automatically renders audio previews whenever it renders video previews. For more information, see Render audio when rendering video.
73 Workspace and workflows • Stereo tracks can hold mono and stereo clips • 5.1 tracks can hold only 5.1 clips • Adaptive tracks can hold mono, stereo, and adaptive (multichannel) clips (but not 5.1) The following definitions describe how each track type is interpreted in Premiere Pro and presented when dropped into a sequence: Mono Media Lets you specify how mono files must be interpreted inside Premiere Pro. The mapping works as follows: • Use File imports the file in the same format, mono.
74 Workspace and workflows Automation Keyframe Optimization Defines the linear keyframe thinning and minimum time interval thinning. Linear Keyframe Thinning Creates keyframes only at points that don’t have a linear relationship to the start and end keyframes. For example, if you are automating a fade from 0 dB to –12 dB. With this option selected, Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes.
75 Workspace and workflows The following image shows the preferences for low-latency CoreAudio devices that can support input-only, outputonly, and full-duplex modes. You can change the properties such as Master Clock (MOTU, SPDIF, and ADAT) and I/O Buffer Size (low latency, 32 samples).
76 Workspace and workflows Configure audio inputs and outputs When you configure inputs and outputs for recording and playback, Adobe Premiere Pro can use these kinds of sound card drivers: In Windows, ASIO drivers support professional cards and MME drivers typically support standard cards. In Mac OS, CoreAudio drivers support both professional and standard cards. ASIO and CoreAudio drivers are preferable because they provide better performance and lower latency.
77 Workspace and workflows 6 Choose a Sample Rate for the audio hardware. (For common rates for different output mediums, see Understanding sample rate in Adobe Audition Help.) 7 (Optional) To optimize the performance of ASIO and CoreAudio cards, click Settings. For more information, consult the documentation for the sound card. 8 Under Output Mapping, you can specify the target speaker in your computer sound system for each supported audio channel.
78 Workspace and workflows Click Edit to specify configure settings like MIDI Input Device and MIDI Output Device for the selected control surface. For more information on using control surface controls with Premiere Pro, see Control surface support. Device Control preferences In the Device Control pane of the Preferences dialog box, you specify the settings Premiere Pro uses to control a playback/recording device, such as a VTR or camcorder.
79 Workspace and workflows Playback preferences In the Playback pane of the Preferences dialog box, you can select the default player for audio or video, and set preroll and postroll preferences. You can also access device settings for third-party capture cards.
80 Workspace and workflows Sync settings using Adobe Creative Cloud When you work with Adobe® Premiere® Pro on multiple machines, managing and syncing preferences, presets, and libraries between them can be time-consuming, complex, and error-prone. The new Sync Settings feature lets you sync your general preferences, keyboard shortcuts, presets, and libraries to the Creative Cloud. For example, if you use more than one computer, the Sync Settings feature helps keep settings synchronized across machines.
81 Workspace and workflows Enter the Adobe ID and password. The settings for that Creative Cloud account are downloaded and applied, and the user name appears in the Start Screen. Managing Sync Clear Settings You can clear all settings and revert to default settings. Select Edit > [your Adobe ID] > Clear Settings. Note: If you select Clear Settings while a project is open, Premiere Pro saves and closes the current project to proceed.
82 Workspace and workflows • Always Download Settings When you select Ask My Preference, the Sync Settings dialog opens, prompting you to upload or download your settings. Upload Settings: Syncs settings from your computer to Creative Cloud. Download Settings: Syncs settings from Creative Cloud to your computer, overwriting the local version with the Creative Cloud version of settings.
83 Workspace and workflows • Before you customize any local settings like adding new keyboard shortcuts or workspaces, sync your settings at least once on one of your computers. Doing so ensures that you don’t lose any changes to your settings during automigration of settings from the previous version. 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.
84 Workspace and workflows 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.
85 Workspace and workflows You add clips to a sequence in the Timeline panel by dragging them there or by using the Insert or Overwrite buttons in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel. You can view the edited sequence in the Program Monitor or watch the full-screen, full-quality video on an attached television monitor. (See Timeline panelsand Add a clip to a sequence.
86 Workspace and workflows Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file. Using Adobe Media Encoder, you can customize the settings for MPEG-2, MPEG-4, FLV, and other codecs and formats, to the needs of your viewing audience. For more information, see Learn types of exporting. Work across platforms You can work on a project across computer platforms. For example, you can start on Windows and continue on Mac OS.
87 Workspace and workflows Copy between After Effects and Premiere Pro • From the After Effects Timeline panel, you can copy layers based on audio or video footage items (including solids) and paste them into the Adobe Premiere Pro Timeline panel. • From the Adobe Premiere Pro Timeline panel, you can copy assets (any items in a track) and paste them into the After Effects Timeline panel. • From either After Effects or Adobe Premiere Pro, you can copy and paste footage items to the other’s Project panel.
88 Workspace and workflows 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 Expressions Not converted Layer markers Clip markers Masks and mattes Not converted Stereo Mixer effect Channel Volume filter Time Remap property Time Remapping effect Time
89 Workspace and workflows 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.
90 Workspace and workflows 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. If you use Premiere Pro to create movies, you can use Photoshop to refine the individual frames of those movies. In Photoshop, you can do any of the following: • Remove unwanted visual elements. • Draw on individual frames.
91 Workspace and workflows 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. If you want to broadcast the final movie it is best to ensure, in Photoshop, that the colors in your image are broadcastsafe. Assign the appropriate destination color space—for example, SDTV (Rec. 601)—to the document in Photoshop.
92 Workspace and workflows 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.
93 Workspace and workflows 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. Working with Apple Final Cut Pro and Adobe Premiere Pro You can import Final Cut Pro project XML files into Premiere Pro.
94 Workspace and workflows 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.
95 Workspace and workflows 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.
96 Workspace and workflows 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.
97 Workspace and workflows To achieve optimal performance when using Direct Link, use a 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.
98 Workspace and workflows Premiere Pro closes, and SpeedGrade opens the sequence in its Timeline, which uses the same familiar track layout as Premiere Pro. In the SpeedGrade Timeline, you can see all the clip edit points, transitions, and layers. 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 appear as Lumetri presets when you reopen the sequence in Premiere Pro.
99 Workspace and workflows When you finish color grading your sequence in SpeedGrade, save and reopen the sequence in Premiere Pro for final output or further editing. Click the Direct Link to Adobe Premiere Pro icon in the upper left of the SpeedGrade user interface. 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.
100 Workspace and workflows • All the color grading that you apply in SpeedGrade is available automatically in Premiere Pro. There is no need to export the .look files. Working with offline media When you open a Premiere Pro project with missing media files in SpeedGrade, you cannot link and locate the offline media like you would in Premiere Pro. To relink the offline media, you must bring the project back to Premiere Pro.
101 Workspace and workflows Learn how to use Direct Link to roundtrip your projects to SpeedGrade for comprehensive color grading and applying preset film stock and camera looks. 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.
102 Workspace and workflows Title... Ctrl+T Cmd+T Open Project/Production... Ctrl+O Cmd+O Browse in Adobe Bridge... Ctrl+Alt+O Opt+Cmd+O Close Project Ctrl+Shift+W Shift+Cmd+W Close Ctrl+W Cmd+W Save Ctrl+S Cmd+S Save As... Ctrl+Shift+S Shift+Cmd+S Save a Copy... Ctrl+Alt+S Opt+Cmd+S Capture... F5 F5 Batch Capture... F6 F6 Import from Media Browser Ctrl+Alt+I Opt+Cmd+I Import... Ctrl+I Cmd+I Ctrl+M Cmd+M Selection...
103 Workspace and workflows Audio Channels... Shift+G Shift+G Speed/Duration... Ctrl+R Cmd+R Insert , , Overwrite . .
104 Workspace and workflows Clear Out Ctrl+Shift+O Opt+O Clear In and Out Ctrl+Shift+X Opt+X Add Marker M M Go to Next Marker Shift+M Shift+M Go to Previous Marker Ctrl+Shift+M Shift+Cmd+M Clear Current Marker Ctrl+Alt+M Opt+M Clear All Markers Ctrl+Alt+Shift+M Opt+Cmd+M Left Ctrl+Shift+L Shift+Cmd+L Center Ctrl+Shift+C Shift+Cmd+C Right Ctrl+Shift+R Shift+Cmd+R Tab Stops... Ctrl+Shift+T Shift+Cmd+T Templates...
105 Workspace and workflows Adobe Premiere Pro Help... F1 F1 Clear Poster Frame Ctrl+Shift+P Opt+P Cut to Camera 1 Ctrl+1 Ctrl+1 Cut to Camera 2 Ctrl+2 Ctrl+2 Cut to Camera 3 Ctrl+3 Ctrl+3 Cut to Camera 4 Ctrl+4 Ctrl+4 Cut to Camera 5 Ctrl+5 Ctrl+5 Cut to Camera 6 Ctrl+6 Ctrl+6 Cut to Camera 7 Ctrl+7 Ctrl+7 Cut to Camera 8 Ctrl+8 Ctrl+8 Keyboard...
106 Workspace and workflows Stop S S Backspace Delete New Custom Bin Ctrl+/ Cmd+/ Delete Custom Item Backspace Delete Step Backward Left Left Step Forward Right Right Delete Backspace Delete Open in Source Monitor Shift+O Shift+O Parent Directory Ctrl+Up Cmd+Up Select Directory List Shift+Left Shift+Left Select Media List Shift+Right Shift+Right Loop Ctrl+L Cmd+L Play Space Space Go to Next Edit Point Down Down Go to Previous Edit Point Up Up Play/Stop Toggle Sp
107 Workspace and workflows Multi-camera Result Windows Mac OS Go to Next Edit Point Down Down Go to Next Edit Point on Any Track Shift+Down Shift+Down Go to Previous Edit Point Up Up Go to Previous Edit Point on Any Track Shift+Up Shift+Up Go to Selected Clip End Shift+End Shift+End Go to Selected Clip Start Shift+Home Shift+Home Go to Sequence-Clip End End End Go to Sequence-Clip Start Home Home Increase Clip Volume ] ] Increase Clip Volume Many Shift+] Shift+] Maximize o
108 Workspace and workflows Select Next Panel Ctrl+Shift+. Ctrl+Shift+.
109 Workspace and workflows Workspace 5 Alt+Shift+5 Opt+Shift+5 Workspace 6 Alt+Shift+6 Opt+Shift+6 Workspace 7 Alt+Shift+7 Opt+Shift+7 Workspace 8 Alt+Shift+8 Opt+Shift+8 Workspace 9 Alt+Shift+9 Opt+Shift+9 Zoom to Sequence \ \ Extend Selection Up Shift+Up Shift+Up Move Selection Down Down Down Move Selection End End End Move Selection Home Home Home Move Selection Left Left Left Move Selection Page Down Page Down Page Down Move Selection Page Up Page Up Page Up Move
110 Workspace and workflows Nudge Clip Selection Right One Frame Alt+Right Cmd+Right Ripple Delete Alt+Backspace Opt+Delete Set Work Area Bar In Point Alt+[ Opt+[ Set Work Area Bar Out Point Alt+] Opt+] Show Next Screen Page Down Page Down Show Previous Screen Page Up Page Up Slide Clip Selection Left Five Frames Alt+Shift+, Opt+Shift+, Slide Clip Selection Left One Frame Alt+, Opt+, Slide Clip Selection Right Five Frames Alt+Shift+. Opt+Shift+.
111 Workspace and workflows Line Tool L L Nudge Selected Object Down by Five Pixels Shift+Down Shift+Down Nudge Selected Object Down by One Pixel Down Down Nudge Selected Object Left by Five Pixels Shift+Left Shift+Left Nudge Selected Object Left by One Pixel Left Left Nudge Selected Object Right by Five Pixels Shift+Right Shift+Right Nudge Selected Object Right by One Pixel Right Right Nudge Selected Object Up by Five Pixels Shift+Up Shift+Up Nudge Selected Object Up by One Pixel
112 Workspace and workflows Find keyboard shortcuts Find the keyboard shortcuts for a tool, button, or menu command by doing any of the following: • For a tool or button, hold the pointer over the tool or button until its tool tip appears. If available, the keyboard shortcut appears in the tool tip after the tool description. • For menu commands, look for the keyboard shortcut at the right of the command.
113 Workspace and workflows Copy keyboard shortcuts from one computer to another Sync keyboard shortcuts using Creative Cloud Premiere Pro CC lets you quickly and easily sync keyboard shortcuts between computers using the Sync Settings feature. Using Sync Settings, you can upload the customized keyboard shortcuts from your computer to Creative Cloud. Then, you can sync the keyboard shortcuts from Creative Cloud to any other computer. For more information, see .
114 Workspace and workflows Edit a shortcut To edit a shortcut, click the shortcut text in the Shortcuts column. The text is replaced with an editable button. Type the shortcut that you want to use. If the shortcut you type is already in use, an alert appears. Delete a shortcut To delete a shortcut, click 'x' in the editable shortcut button.
115 Workspace and workflows • Press Command+Shift, and then choose Premiere Pro > Keyboard Shortcuts (Mac OS). • Click the Clipboard button. • Start a new document in a text editor, or spreadsheet program. • Paste the contents of the clipboard into the document. • Save the document and then print it out.
116 Chapter 6: 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.
117 Project setup 3 Browse to a location where you want to save the project file, name the project, and click OK. Note: Whenever possible, specify a location and name that you won’t have to change later. By default, Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project. Moving a project file later may require moving its associated files as well.
118 Project setup Open a project Premiere Pro for Windows can open project files created with earlier versions of Premiere Pro or Adobe Premiere 6.x. You can open only one project at a time. To transfer the contents of one project into another, use the Import command. Use the Auto Save command to automatically save copies of your projects in the Premiere Pro Auto-Save folder. You may encounter missing files as you work on a project.
119 Project setup Moving a project to another computer To move a project to another computer where you want to continue editing, you must move copies of all the assets for the project to the second computer, as well as the project file. The assets should retain their file names and folder locations so that Premiere Pro can find them and relink them to their clips in the project automatically.
120 Project setup Learn to collect your media in a single location and convert it into a mezzanine codec for archiving or working with other teams. (Watch, 6 min) The Project Manager provides several options to consolidate relevant files into a mezzanine codec based on userdefined preferences. While consolidating the files, the Project Manager copies only portions of source footage used in sequences and automatically creates a trimmed project.
121 Project setup Note: The only preset that supports alpha is the GoPro CineForm With Alpha preset. All other presets flatten any alpha channel. 4 Premiere Pro creates a new project file that links to the selected media based on the following options. Note: The options that are available depend on the option you choose in the previous step. Exclude Unused Clips Specifies that Project Manager will not include, or copy, media you did not use in the original project.
122 Project setup Note: If a folder already exists in the same location with a name identical to the project you are copying or transcoding, Project Manager appends a number to the name. For example, identically named successive projects may have appendages of “_001, _002, _003, _004,....” Disk Space Displays a comparison between the size of the current project’s files and the estimated size of the copied or consolidated files. Click Calculate to update the estimate. 5 Click OK.
123 Chapter 7: Importing footage Supported file formats About file formats Some filename extensions—such as MOV, AVI, MXF, and F4V—denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. Premiere Pro can import these container files, but the ability to import the data that they contain is dependent on the codecs (specifically, decoders) installed.
124 Importing footage M2T Sony HDV M2TS Blu-ray BDAV MPEG-2 Transport Stream, AVCHD M4V MPEG-4 Video File MOV QuickTime Movie format Note: Windows requires QuickTime player MP4 QuickTime Movie, XDCAM EX MPEG, MPE, MPG MPEG-1, MPEG-2 M2V DVD-compliant MPEG-2 MTS AVCHD MXF Media eXchange Format MXF is a container format that supports: • P2 Movie: Panasonic Op-Atom variant of MXF video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, AVCIntra • XDCAM HD Movie • Sony XDCAM HD 50 (4:2:2) • Avid MXF Movie
125 Importing footage Premiere Pro lets you import and edit QuickTime formats natively including Apple ProRes and MOV files that Canon 5D and 7D cameras capture. You can clip metadata without any transcoding, rewrapping, or logging and transferring required.
126 Importing footage To learn more about working directly with native camera formats, seethis video tutorial. Supported audio file formats Format Details AAC AC3 Including 5.
127 Importing footage PICT PNG PSD PSQ Adobe Premiere 6 Storyboard PTL, PRTL Adobe Premiere title TGA, ICB, VDA, VST TIF Supported closed captioning and subtitle file formats Format Details DFXP Distribution Format Exchange Profile MCC MacCaption VANC 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 li
128 Importing footage For a list of file formats supported for import in Premiere Pro, see Supported file formats About transferring files Transferring projects from other computers When transferring project files, such as After Effects project files, Premiere Pro project files, or Final Cut Pro project files from another computer to the computer on which you import those project files into Premiere Pro, make sure that you transfer all the assets associated with the project files.
129 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.
130 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.
131 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. Channel support Premiere Pro supports four-channel assets. Every processed pixel in the render pipeline uses four channels.
132 Importing footage Import a Premiere Elements project (Windows only) 1 Select File > Open Project. 2 Browse to an Adobe Premiere Elements project file, with file extension PREL. 3 Click Open. Premiere Pro converts the Premiere Elements project file to a Premiere Pro project file. Importing After Effects compositions You can import After Effects compositions like any other supported file type by using the File > Import command.
133 Importing footage The maximum frame size that can be imported for still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction. For more information, see this post on the Premiere Pro Work Area blog. Preparing still images before importing Before you import a still image into Premiere Pro, prepare it as completely as possible to reduce rendering time. It’s usually easier and faster to prepare a file in its original application.
134 Importing footage Premiere Pro imports attributes that were applied in the original file, including position, opacity, visibility, transparency (alpha channel), layer masks, adjustment layers, common layer effects, layer clipping paths, vector masks, and clipping groups. Photoshop exports a white background as opaque white, whereas it exports a checkerboard background as a transparent alpha channel when exporting to a format that supports alpha channels.
135 Importing footage Import images as an image sequence You can import an animation contained in a single file, such as an animated GIF. You can also import a sequence of still-image files, such as a TIFF sequence, and automatically combine them into a single video clip; each still image becomes one frame of video. Importing a sequence is useful for animations exported as an image sequence by applications like After Effects. The images in the series cannot include layers.
136 Importing footage Note: Make sure that you own the copyrights or have licensed the copyrights to any audio tracks you use. Using compressed audio formats Music stored in formats such as MP3 and WMA are compressed using a method that removes some of the original audio quality. To play back compressed audio, Premiere Pro must decompress the file and may need to resample it to match your output settings.
137 Importing footage • Premiere Pro does conform audio in uncompressed formats that were not recorded in a natively supported sample rate. In most of these cases, it will upsample the audio either to the nearest supported sample rate, or to a supported sample rate that is an even multiple of the source audio sample rate. For example, it will upsample an 11024Hz source to 11025Hz, since that is the nearest supported rate, and there is no supported rate that is an even multiple of 11024.
138 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.
139 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.
140 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.
141 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.
142 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.
143 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.
144 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.
145 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.
146 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.
147 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.
148 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.
149 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.
150 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.
151 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.
152 Importing footage • If no audio is recording, try playing a source through the computer’s sound input and speaker system without recording. If you can’t hear it, the audio source may not be connected properly or audio parameters may not be set properly. Check hardware connections, Sounds And Audio Devices in the Windows Control Panel, and mixer settings, and refer to the documentation for your sound card.
153 Importing footage When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section. Because of the nature of Long GOP formats, inaccuracy in actual media content is possible. Adding handles assures that you have the proper frames needed for editing and, if need be, recapturing. Log clips interactively 1 Make sure that your device is connected and in VTR or VCR (not Camera) mode, and then choose File > Capture.
154 Importing footage Premiere Pro can capture video in the background so that you can perform other tasks during capture. When you start either a manual capture or batch capturing in Premiere Pro, you can minimize the Premiere Pro application or switch to another application without stopping capture. After you restore the Premiere Pro window, you can click anywhere inside it to halt capture. However, be aware that frames may drop out if you perform a system-intensive task while capturing.
155 Importing footage 2 In the Batch Capture dialog box, do any of the following: • Choose Capture With Handles and enter the number of frames for the handles if you want to capture frames beyond the In and Out points identified for each clip in the batch. Note: The number of frames you enter here will be added to the number you set for handles in the Capture panel.
156 Importing footage When you import a batch list, the order of fields in the list must be as follows: tape name, In point, Out point, clip name, and comment. When you export offline clips as a batch list, Premiere Pro orders the fields as follows: tape name, In point, Out point, clip name, log note, description, scene, and shot/take. Exported field data is exported from the corresponding columns in the List view of the Project panel.
157 Importing footage • You plan to capture clips using batch (automated) capture. • You want to recapture clips because the original files became corrupted or were deleted. • You plan to export sequences to another system by using EDL. • You’re using a system in which you edit quickly with low-resolution captures, and later recapture the clips at full resolution and quality for the final version. • You plan to synchronize captured video with audio recorded separately.
158 Importing footage Change how timecode is displayed You can change the timecode display format in any panel where timecode is shown in hot text. 1 (Optional) To display timecode in audio units (Audio Samples or Milliseconds), click the panel menu button in the panel desired, and select Show Audio Time Units. 2 Ctrl-click (Windows) or Command-click (Mac OS) a hot text timecode display to toggle through any of these timecode formats that are available.
159 Importing footage Note: This technique does not work when dubbing to the DVCAM format or using a Panasonic AG-DV2500 as the record deck. 1 Load the DV tape you shot into a DV camcorder or deck for playback, and fully rewind it. 2 Load a new tape into a second camcorder or deck, which you will use to record a copy. 3 If the recording device includes an option to record video with the timecode from your original tape, be sure that this option is disabled.
160 Importing footage • To adjust the current timecode by dragging, drag the timecode horizontally. For example, to set an earlier timecode, drag to the left. • To adjust the current timecode by using a relative value, type the plus sign (+) or minus sign (–) and the number of frames to add or subtract. For example, to subtract five frames from the current timecode, select the entire timecode, type –5, and then press Enter/Return.
161 Importing footage View timecode in the Timecode panel You can view timecode in the Timecode panel. To view the Timecode panel, choose Window > Timecode. You can view the following in the Timecode panel: • If you have the Source panel selected, the Timecode panel will display source timecode. • If you have the Timeline panel, or the Program panel selected, you can choose to display sequence timecode, or source timecode from the panel menu.
162 Importing footage 4 (For HDV camcorders or VTRs only) Make sure the device is in DV playback mode for DV projects, or HDV playback mode for HDV projects. See the user manual for your device for details.
163 Importing footage • If your system has a breakout box with a serial device control port (RS-422 or RS-232), connect the serial device control port on the device with this port on the breakout box. Do not connect the serial control port on the device with the serial or USB port on the computer. Some breakout boxes require a standard serial 9-pin D-Sub cable instead of the Pipeline Digital ProVTR cable. Consult the documentation from the manufacturer of the breakout box.
164 Importing footage • a display card with component, SDI or HDMI outputs. 1 Connect the card reader, disk drive, or camcorder to the computer, typically with a USB 2.0 cable. Check the manual for your device for details. 2 Connect the output of the computer sound card to computer speakers or audio amplifier. 3 Connect the video outputs from the capture card, breakout box, or display card to the TV monitor using component, SDI, or HDMI cables.
165 Importing footage 6 In Premiere Pro, select File >New > Sequence. 7 In the Available Presets area of the New Sequence dialog box, select the preset that matches the format of your A/D converter. Do not match the source footage. For example, if you use a DV camcorder or A/DV converter to convert the analog signal, choose a DV preset. 8 Type a name in the Sequence Name box. Then click OK.
166 Importing footage 4 Check the boxes next to the names of any devices you want to enable. 5 Check Device 32-bit Recording if you want to record 32-bit audio. 6 Drag the Samples slider to set the size of the buffer. 7 Click OK. 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.
167 Importing footage In terms of performance, it’s best to dedicate a different disk to each asset type, but you can also specify folders on the same disk. You can specify unique scratch disk locations for each of the following types of files: Captured Video Video files that you create using File > Capture 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.
168 Importing footage Optimizing scratch disk performance For optimum performance, follow these guidelines: • If your computer has only one hard disk, consider leaving all scratch disk options at their default settings. • Set up scratch disks on one or more separate hard disks. In Premiere Pro, you can set up a separate scratch disk for each type of media. For example, you can set up one disk for captured video and another for captured audio.
169 Importing footage A database retains links to each of the cached media files. This media cache database is shared with Adobe Media Encoder, After Effects, Premiere Pro, and Audition, so each of these applications can each read from and write to the same set of cached media files. If you change the location of the database from within any of these applications, the location is updated for the other applications, too.
170 Importing footage Capture HD, DV, or HDV video Capture HD video You can capture audio and video from an HD device with an SDI port. Your computer must have a supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD footage from XDCAM SDI sources provided a supported XDCAM capture card is installed, along with its respective driver. Correct installation adds HD presets to the Available Presets pane of the New Sequence dialog box.
171 Importing footage More Help topics Set up a DV or HDV system Capture with device control Export a sequence to tape with device control Support for growing files Growing files are those that grow in duration after they are ingested. Adobe® Premiere® Pro supports growing files for those needing that workflow.
172 Importing footage About capture card settings Some of the capture settings you see in Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because of the differences among brands of cards, specific options and supported formats can vary. This complex relationship between video capture cards and Premiere Pro can make it difficult to identify which part of the system is responsible for a particular option or problem.
173 Importing footage 13 Do one of the following: • If the digital device offers no device control, cue up your source using the analog device’s own controls. Press Play in the Capture panel. on the analog device and click the Record button • If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source.
174 Importing footage Note: When creating low-resolution clips for offline editing with Adobe Media Encoder, clips with two audio channels are created even if you have four or more audio channels on your footage. This problem is a limitation of Adobe Media Encoder, so use an alternate tool if the other audio channels are to be preserved. 9 In the Premiere Pro Project panel, open the bin you created for low-resolution clips. Import the low-resolution clips into this bin.
175 Chapter 8: Managing assets Organize assets in the Project panel Use bins The Project panel lets you use bins that helps you organize project content 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. While it is not absolutely necessary to create and use bins (especially with short-form projects), most editors find them indispensable for staying organized.
176 Managing assets These are the default behaviors of bins in the Project panel. You can change the last three bin default behaviors by editing bin behavior in general preferences. Adding, deleting, and opening 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.
177 Managing assets Change bin behaviors While working in a project, you will sometimes want to change the way you view your bins. In standard layout, you can see the hierarchy of your entire project, which is useful. However, sometimes you want to open a bin in its own tab, or open in a new panel. That way, you can focus on the clips in a particular bin, sort clips in storyboard order in icon mode, or search for clips within a bin by typing in the search field.
178 Managing assets If you click New Bin multiple times in a row, each new bin is nested inside the previous new bin. Label assets Labels are colors that help you identify and associate assets. You assign and view labels in the Project panel. Label colors mark assets in the Project panel’s Label column and in a Timeline panel. • To assign a label to an asset, select a clip in the Project panel, choose Edit > Label, and choose a color.
179 Managing assets Rename an original source file ? Quit Premiere Pro and rename the file on the desktop. The next time you open the project, Premiere Pro launches a dialog. a Navigate to the file that you renamed and select it in the dialog. b Click Open c Premiere Pro launches with the file relinked to the renamed source file. Jump to an asset in the Project panel 1 Select the Project panel. 2 Type the first letter of the name of the desired clip.
180 Managing assets Edit cells in the Project panel You can edit the data in the editable cells, whether for clip properties or XMP metadata, for any clip in the Project panel. Premiere Pro stores data written to XMP metadata cells in the source files. However, it stores data written to clip properties cells in the project file, not into the source files. Clip properties data do not travel with the source files, and they are readable only by Premiere Pro.
181 Managing assets View field order for clips You can determine the field order for a clip in the Preview Area of the Project panel. In the Preview Area, and next to the clip, you can view information about the clip. Next to the timecode information, the field order is listed. • LFF indicates a lower-field first field order for the clip. • UFF indicates a upper-field first field order for the clip. The Preview Area is hidden by default. Enable it in the panel menu of the Project panel.
182 Managing assets A List view B Zoom slider C Automate to sequence D Find E New Bin F New item G Clear Last updated 11/30/2015
183 Managing assets Last updated 11/30/2015
184 Managing assets A List view B Zoom slider C Automate to sequence D Find E New Bin F New item G Clear H Icon view I Clip used in a sequence J Clip contains both audio and video K Playhead for scrubbing the thumbnail • To change from one view to another, click the List View button or the Icon View panel. Alternatively, select View > List or View > Icon from the Project panel menu.
185 Managing assets • Use the keyboard shortcuts I and O to set In and Out points for the clip while hover scrubbing. • While hovering over a portion of a clip, double-click the icon, and the clip loads into the Source Monitor where the pointer was hovering. With this technique, Insert or Overwrite edits can be quickly made to the timeline. • Click the icon. Drag the playhead across the slider to scrub the clip. • After clicking the slider on the thumbnail, a clip playhead appears.
186 Managing assets Customize List view columns The columns of metadata in the Project panel List view tell various things about the assets listed. The Project panel can display any XMP metadata fields you choose, not only the clip data fields. You can select which metadata columns Premiere Pro displays, add properties to schema, and change the order of columns. Premiere Pro saves your choice of columns in the project file.
187 Managing assets 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. Boolean columns provide the option for Boolean terms. 5 Click OK, and click OK again. List view columns The names of most of the Project panel columns are self explanatory. Following are definitions for the less obvious ones: Name By default, displays the asset filename.
188 Managing assets Shot/Take Field for shot name, or take name entered using the Capture panel or through the Edit Offline File dialog box. Good Indicates preferred assets. Select format for timecode display in the Project panel By default, Premiere Pro displays timecode for clips in the Project panel in the format selected in Preferences. You can change this default, however, to any other timecode display format. 1 Select Project > Project Settings > General.
189 Managing assets To customize the creation and exchange of metadata, use the XMP Software Development Kit. For more information about XMP, see Extensible Metadata Platform. About the Metadata panel in Premiere Pro The Metadata panel shows both clip-instance metadata and XMP file metadata for a selected asset. Fields under the Clip heading show clip-instance metadata: information about a clip selected in the Project panel, or in a sequence.
190 Managing assets Use the XMP metadata fields to store data that applies to the source file, and all clip instances that point to it. Use the clip metadata fields to store data specific to each unique clip. Link clip metadata fields to XMP metadata fields when you want clip metadata copied to the source file. Do not link a clip metadata field to an XMP metadata field for more than one clip pointing to the same source file, however.
191 Managing assets Show or hide XMP metadata To optimize the Metadata panel for your workflow, show or hide entire schemas or individual properties, displaying only those that you need. 1 From the options menu for the Metadata panel, select Metadata Display. 2 To show or hide schemas or properties, select or deselect them from the list. Save, switch, or delete metadata sets If you use multiple workflows, each requiring different sets of displayed metadata, you can save sets and switch between them.
192 Managing assets 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.
193 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.
194 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 Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame.
195 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.
196 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.
197 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.
198 Managing assets When the source cannot be matched, the clip is not rendered. Preset Uses the frame size, frame rate, field type, and pixel aspect ratio of the chosen preset and renders all clips to these settings. When the sources cannot be matched, the clips are not rendered. Format Select a file format that gives the best quality playback while keeping an optimal rendering time and file size. You can choose from MXF OP1a files, MXF OP1a files in DNXHD format, or QuickTime format.
199 Managing assets For audio-only clips, or if you select the audio portion of an AV clip, Premiere Pro renders the audio clip into audio files in .wav format. For audio-only clips, you can revert to the original unrendered media. Can you render still images? No, but you can render image sequences.
200 Managing assets 2 In the Find dialog box, select the name of the columns to search from the menus under Column. 3 Select the appropriate operators from the menus under Operator. 4 Type in the characters you want to find in the specified columns in their respective Find What fields. 5 If you’re searching for two criteria simultaneously, do one of the following: • To find assets that match both criteria, select All from the Match menu.
201 Managing assets 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. As you type each new letter in the search query, the search results update dynamically. 2 Click the Search Bin icon next to the Search field. The name of the Search Bin that is created matches the entered search query.
202 Managing assets With a Timeline panel active, select Edit > Find. Or use the keyboard shortcut Ctrl+F (Windows), or Command+F (Mac). The Find dialog that appears is similar to the Project panel's Find dialog. You can find and select clips within a sequence based on a a single property, like clip name, marker name, or use a combination of properties. 1 In the Find dialog box, select the name of the columns to search from and the appropriate operators.
203 Managing assets • Sequence Clip Name • Project Clip Name • File Name • Edit Point Indicators • End Of Media/Sequence Indicators • Multi-Camera Sources • Sound Timecode • Sound Roll Overlays are not turned on by default. You can turn overlays on or off by clicking the Wrench icon Monitor or Source Monitor, and then select Overlays. in the Program When you turn overlays on, source clip timecodes and marker comments are displayed by default.
204 Managing assets Source Timecode Displays the Timecode value for the original source clip irrespective of where the playhead is located in the sequence. 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. Sound Timecode Updates with each frame, like a normal timecode.
205 Managing assets Note: The clip marker overlay shows the different tracks in the clip. The Sequence Marker overlay does not show all the individual tracks in the sequence but shows it as a single marker overlay. Action and Title Safe Area Action safe area determines the part of the video image that will be displayed on a television screen when a sequence is played back. Any part of the video outside the safe area won’t be displayed on the television screen.
206 Managing assets 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. If you select a large text size, and there is not enough space on the monitor to display the text, the text can get truncated. Opacity The Opacity setting determines the degree to which the overlay conceals or reveals the monitor display.
207 Managing assets Export, import, and delete presets • To export a preset, select the preset from the Preset drop-down list and click the export icon . Enter a name for the preset, select the location to save the exported preset, and click Save. The preset is exported with a *.olp filename extension. • To import a preset, click the Import preset icon extension) that you want to import. , and navigate to the Premiere Pro preset file (*.
208 Chapter 9: Monitoring assets 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. You can cue the frame of a sequence displayed in the Reference Monitor independently from the Program Monitor. This way, you can cue each view to a different frame for comparison—to use the color matching filter, for example.
209 Monitoring assets Gang the Reference Monitor and Program Monitor You can gang the Reference Monitor and the Program Monitor so that both always monitor the same frame. ? Do one of the following: • In the Reference Monitor, click the Gang To Program Monitor button . • In the Reference Monitor’s panel menu, choose Gang To Program Monitor. • In the Program Monitor’s panel menu, choose Gang To Reference Monitor. Both Monitors show the same frame.
210 Monitoring assets • To play forward in slow motion, press Shift+L. • To play backwards in slow motion, press Shift+J. • 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.
211 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.
212 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.
213 Monitoring assets 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.
214 Monitoring assets A Target boxes B Image profile The Vectorscope has the following controls: Intensity Adjusts the brightness of the pattern display. It does not affect the video output signal. 75% Default position. Use to check video input in which standard 75% intensity bars, like those in Premiere Pro, are used. 100% Shows the entire range of video signal chrominance. Use with video input containing 100% intensity bars.
215 Monitoring assets A IRE units B 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. Deselecting this option displays only the luminance.
216 Monitoring assets RGB Parade The RGB Parade scope displays waveforms representing the levels of the red, green, and blue channels in a clip. The waveforms appear in a graph one after another, in parade fashion. This scope is useful for viewing the distribution of the color components in a clip. The levels of each color channel are measured proportionately to each other using a scale of 0 to 100. The Intensity control adjusts the brightness of the waveforms. It doesn’t affect the video output signal.
217 Chapter 10: Editing Add clips to sequences Add a clip to a sequence You can add clips to a sequence in the following ways: • Drag the clip from the Project panel or Source Monitor to a Timeline panel or the Program Monitor. • Use the Insert and Overwrite buttons in the Source Monitor to add clips to a Timeline panel. Or use the keyboard shortcuts associated with those buttons. • Automatically assemble a sequence from the Project panel.
218 Editing Target 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.
219 Editing 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.
220 Editing 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.
221 Editing 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 .
222 Editing 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.
223 Editing 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 .
224 Editing 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.
225 Editing 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 .
226 Editing Every Premiere Pro project can contain one or more sequences, and each sequence in a project can have settings different from the settings for the others. For example, one project can contain one sequence optimized for 30-fps widescreen DV assets, another for standard 24-fps DV assets, and still another for HDV footage. You assemble and rearrange sequences in one or more Timeline panels, where their clips, transitions, and effects are represented graphically.
227 Editing line extends from the playhead to the bottom of the time ruler. You can change the current time by dragging the playhead. Current time display Shows the timecode for the current frame in a Timeline panel. To move to a different time, click in the time display and enter a new time, or place the pointer over the display and drag left or right.
228 Editing 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. You can use any of the following shortcuts when entering timecode: Omit leading zeros For example, 0;0;12;3 becomes 00;00;12;03. Omit semicolons (NTSC) or colons (PAL) For example, 1213 becomes 00;00;12;13 for NTSC projects, and 00:00:12:13 for PAL projects.
229 Editing • On Apple MacBook Pro computers, move two fingers horizontally on the Multi-Touch trackpad to navigate the sequence horizontally. Scroll vertically in a sequence in a Timeline panel When video or audio clips are stacked up in tracks on the timeline, they can sometimes be hidden from view. If you need to work on a clip that is out of view, you need to scroll vertically in your sequence in the Timeline. Do one of the following to scroll vertically in a sequence in the Timeline.
230 Editing Rename a track 1 Right-click (Windows) or Ctrl-click (Mac OS) the track's name and choose Rename. 2 Type a new name for the track, and press Enter (Windows) or Return (Mac OS). Specify the tracks to change with Sync Lock You can determine which tracks will be affected when your perform an insert, ripple delete, or ripple trim operation by enabling Sync Lock on those tracks.
231 Editing Set track display You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track. In addition, you can change the size of the header area or move the boundary between the video and audio tracks to display more tracks of either type. Expand and resize a track You can expand a track to display track controls.
232 Editing 2 Click the Set Display Style button , and choose an option from the menu: Show Waveform Displays audio waveforms in clips. Show Name Only Displays the name of audio clips without waveforms. Note: For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs.
233 Editing You can create a new sequence from a selected clip by one of the following methods: • Drag and drop a clip onto the New Item button. • Choose File > New > Sequence from Clip. Note: When a merged clip is used to create a new Sequence from Clip, there may be empty stereo audio tracks, depending on the media format. You may delete these empty stereo audio tracks, if you wish.
234 Editing • XDCAM HD422 • XDCAM HD. These sequence settings presets contain the correct settings for the most typical sequence types. For example, use the AVC-Intra, DVCPRO50, and DVCPROHD sequence settings presets to edit AVC-Intra or DVCPRO material shot on Panasonic P2 video cameras. For DV25 material recorded in Panasonic P2 format, use a preset for DV-NTSC or DVPAL, depending on the television standard of the footage.
235 Editing Pixel Aspect Ratio Sets the aspect ratio for individual pixels. Choose Square Pixels for analog video, scanned images, and computer-generated graphics, or choose the format used by your source. If you use a pixel aspect ratio different from the pixel aspect ratio of your video, the video often gets rendered with distortion. Fields Specifies the field order, or which field of each frame is drawn first. If you work with progressive-scan video, select No Fields (Progressive Scan).
236 Editing Among the various options, you can reduce the frame size of previews. This reduction permits faster and easier playback of formats with large frame sizes, such as HD and RED. Preview File Format Select a file format that gives the best quality previews while keeping rendering time and file size within tolerances acceptable for your system. For certain editing modes, only one file format is available. Codec Specifies the codec used for creating preview files for the sequence.
237 Editing Selecting a sequence preset To ensure that a sequence is created to match the characteristics of an asset, drag the asset in the Project panel to the New Item button at the bottom of the Project panel. This prevents many mistakes that are made when entering sequence settings incorrectly or choosing the wrong sequence preset. A sequence can contain different types of assets, in different formats, and with various different parameters.
238 Editing Change sequence settings You can change some of the settings for an existing sequence. Note that, depending on the Editing Mode selected, some of the settings will be fixed. 1 Do one of the following: • Select Sequence > Sequence Settings. • In the Project panel, right-click a sequence, and select Sequence Settings. 2 Select the desired settings on the General tab. For more information, see Sequence presets and settings.
239 Editing For best playback performance, it is sometimes helpful to render HD footage when you first place it into a sequence. 1 Select File > New > Sequence. To edit DVCPROHD 720p footage shot at 25fps (e.g. 25pN native mode footage from PAL versions of the Panasonic HVX200 camera), choose the DVCPROHD 720p 50p preset. Then, select the General tab. Then, from the Timebase drop-down menu, select 25.00frames/second. The New Sequence dialog box opens with the Sequence Preset tab selected.
240 Editing • For Mac OS, choose Preview File Format: QuickTime and Codec: None (alternatively choose Uncompressed YUV 10 bit 4:2:2 or Uncompressed YUV 8 bit 4:2:2). You may see different file format and codec choices depending on your optional hardware capture/playback card. 8 (Optional) Check the Maximum Bit Depth check box if your system supports 10-bit or greater formats.
241 Editing About 3:2 and 24pA pulldown When you transfer 24-fps film to 29.97-fps video, you use a process called 3:2 pulldown, in which the film frames are distributed across video fields in a repeating 3:2 pattern. The first frame of film is copied to fields 1 and 2 of the first frame of video, and also to field 1 of the second video frame. The second frame of film is then spread across the next two fields of video—field 2 of the second video frame and field 1 of the third frame of video.
242 Editing 2 In the New Sequence dialog box, click the General tab. 3 Click Playback Settings. 4 In the 24p Conversion Method pane, select one of the following options: Repeat Frame (ABBCD) Duplicates frames where necessary to maintain 29.97 fps playback. This option uses fewer CPU resources. Interlaced Frame (2:3:3:2) Combines the frames in a telecine-like scheme to maintain 29.97 fps playback. This option produces smooth playback but uses more CPU resources.
243 Editing Start a mobile device sequence You can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest way to get started. When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices. 1 Do one of the following: • From the Welcome screen, click New Project. • Select File > New > Project.
244 Editing • Streamline your editing space. Create complex, multilayered sequences separately; then add them to your main sequence as a single clip. This not only saves you from maintaining numerous tracks in the main sequence, but also potentially reduces the chances of inadvertently moving clips during editing (and possibly losing sync). • Create complex groupings and nested effects.
245 Editing 2 Drag the playhead to the frame of the nested sequence that you want to reveal in its original sequence. 3 Press Ctrl+Shift+F (Windows) or Shift+T (Mac OS) to open the source sequence in the Timeline panel, with the playhead at the frame you specified in the nested sequence. 4 Double-click the clip where the playhead rests to open the clip in the Source Monitor. Attach closed caption files To attach a closed caption data file to a sequence, see Working with captions.
246 Editing 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.
247 Editing • To place the video and audio portions of a clip into tracks you specify, drag the video portion to the destination video track. Press and hold Shift. This will pin the video portion to the specified video track. Continue holding Shift and drag downward past the bar separating video and audio tracks. Release the mouse and release Shift when the audio portion of the clip lies over the destination audio track.
248 Editing Rearrange clips in a Timeline panel A useful variation of insert and overwrite edits in a Timeline panel is known as the rearrange edit. A rearrange edit extracts a clip and inserts it into its new location. However, only clips in the destination track are shifted; clips in other tracks are not affected. This technique lets you quickly change the order of clips in a sequence, a task that would appears. otherwise require additional steps.
249 Editing 3 In the Program Monitor, click the Lift button . The frames that are lifted are placed on the system clipboard. 4 Click the header of the track into which you want to paste the lifted frames to target it. 5 Move the playhead to the location where you want to paste the lifted frames. 6 Select Edit > Paste. 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.
250 Editing • To find more gaps in the sequence, see Find gaps in sequences and tracks. If the ripple delete command fails, you may need to lock tracks that contain conflicting clips along the edit point. Find gaps in sequences and tracks You can find gaps of at least one frame in a sequence or a particular track of a sequence. Choose Sequence > Go To Gap and then choose one of the following options: Next in Sequence Finds the next gap to the right of the CTI that spans all tracks.
251 Editing When dragging clips with the Alt or Option key modifier in the Timeline, you can do the following: • You can duplicate either the video or audio portion of clips if you Alt-click (Windows), or Option-click (Mac OS) the clips, and then drag them to a new place in the Timeline. • You can hold down the Alt key (Windows) or Option key (Mac OS) as you are dragging to copy and paste clips to a new place in the Timeline.
252 Editing View the source of a sequence clip in the Project panel ? Right-click (Windows) or Ctrl-click (Mac OS) a clip in a sequence, and choose Reveal In Project. 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.
253 Editing You can’t apply clip-based commands, such as the Speed command, or effects to the group, though you can select individual clips in the group and apply effects. 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.
254 Editing Sequences refer to preview files in much the same way as source media. If you move or delete preview files in the Windows or Mac file browser rather than the Project panel, you’ll be prompted to find or skip the preview files the next time you open the project. 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.
255 Editing Render In to Out Renders the sections of the video tracks lying within the In and Out points containing either a red render bar or a yellow render bar. Render Audio Renders a preview file for the sections of the audio tracks lying within the work area. 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.
256 Editing You can set a keyboard shortcut for Delete Render Files and Delete Work Area Render Files. 2 When you are prompted, click OK. 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).
257 Editing External Device Sets an external device through which to play back video. Aspect Ratio Conversion Determines how pixel aspect ratio is converted for DV projects. Desktop Audio Sets audio playback to the computer External Device Audio Sets audio playback to a connected external audio device. Export: External Device Enables export to tape for the specified device. This option doesn’t affect playback to an external device during export.
258 Editing The Multi-camera mode in the Program Monitor lets you edit clips shot on multiple cameras from different angles. To display the multi-camera editing interface inside the Program Monitor, select Multi-camera from the pop-up menu in the Program Monitor. The Program Monitor's Multi-camera mode displays a fully composited output like the regular playback mode, displaying any applied effects during playback.
259 Editing 6. Enable recording of multi-camera edits Click the Multi-camera Record toggle button on. If the button is not visible in the button bar, click "+" in the lowerright corner of the Program Monitor to open the Button editor. Drag-and-drop the Multi-camera Record button to the button bar. 7. Edit the multi-camera sequence In the Program Monitor or Timeline panel, press the spacebar or click the Play-Stop toggle button to begin playback.
260 Editing Select the Timecode option to synchronize the clips if they were recorded with timecode in sync with each other. • Select the Create Single Multicam Source Sequence option to combine the clips into a single multi-camera sequence. Use this option when the coverage from the individual shots has gaps, and you want to create a sequence that preserves the gaps. If you do not choose this option, only overlapping clips are combined and clips with no overlaps are left unused.
261 Editing • Select All Cameras to use all audio channels in the source clips. This setting is similar to the Camera 1 setting. Only the video portion of the source sequence is multicam-enabled. Audio-follows-video is not supported for this setting. All audio is unmuted (up to 32 channels). The number of unmuted channels of source audio determines the number of active output channels of the sequence. • Select Switch Audio when you want the audio to switch with its linked video.
262 Editing In the Program Monitor, you can browse through the multi-cam pages using the controls that are highlighted in the following image. Mark clips for synchronization If clips are synchronized by timecode (jam-synced) at the shooting location, you do not need to mark clips for synchronization. Before creating a multi-camera source sequence, it is important to mark clips for synchronization.
263 Editing • Mark an Out point at a sync-point at the end of a clip. For example, mark an Out point where the clapperboard is clapped at the tail of a clip. • Make a clip marker at a sync point at any point during a clip. For example, if there is action at any point during a clip that can be used as a sync-point, like an audio cue, cymbal crash, camera flash, and so on. Rename each marker so that they are identically named for synchronization.
264 Editing Chapter Marker If you're using Encore CS6, Encore reads these markers as chapter points when you export to Encore using File > Adobe Dynamic Link > Send To Encore. In Encore, you can link chapter points to buttons in menus. Also, viewers can use the chapter advance buttons on their DVD remote controls to navigate through chapter points. Premiere Pro automatically places an Encore chapter marker, labeled Chapter 1, at the beginning of each sequence you create.
265 Editing Add markers in the Timeline You can add markers on the Source monitor, Program monitor, or on the Timeline. Markers added to Program monitor are reflected in the Timeline. Similarly, markers added to the Timeline are reflected on the Program Monitor. In Premiere Pro, multiple markers can be added, allowing a user to add multiple notes and comment on clips on the same location in the Timeline. 1 Move the playhead to the point where you want to add a marker.
266 Editing Name This field is enabled only if Flash Cue Point is selected. Type a name for your Flash cue point. Value This field is enabled only if Flash Cue Point is selected. Type a value for your Flash cue point. 8 To enter comments or specify options for other sequence markers, click Prev or Next. Note: DVD authoring programs such as Encore adhere to DVD guidelines that restrict the proximity of chapter links.
267 Editing • Select Marker > Go to Previous Marker. Move a marker ? Do one of the following: • To move a clip marker in a clip that’s in a sequence, open the clip in the Source Monitor and drag the Marker icon in the Source Monitor’s time ruler. (You can’t manipulate clip markers in the Timeline panel). • To move a sequence marker, drag the marker in a Timeline panel or the Program Monitor’s time ruler.
268 Editing To display sequence timecode: • In the markers panel menu, select the Sequence Timecode option. The marker panel timecode display changes from clip to sequence timecode. When in sequence timecode mode, only the clip markers in the current sequence are displayed in the Markers panel. Any clip markers outside the in/out range of a clip are not shown. Sequence timecode will auto update if sequence timebase is changed.
269 Editing 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. For example, if you import a 30-minute file into Premiere Pro, you create a 30-minute clip that points to that source file. If you trim the clip to a five-minute duration, the 30-minute source file remains on your hard disk, but the clip refers only to a five-minute section of it.
270 Editing Create subclips A subclip is a section of a master (source) clip that you want to edit and manage separately in your project. You can use subclips to organize long media files. You work with subclips in a Timeline panel as you do with master clips. Trimming and editing a subclip is constrained by its start and end points.
271 Editing Create a subclip from a Timeline panel You can create subclips from a Timeline panel. ? Do one of the following: • Ctrl-drag (Windows) or Command-drag (Mac OS) a clip instance from a sequence into an open bin in a Project panel. Type a name for the subclip, and click OK. • Right-click a clip instance in a sequence, and select Make Subclip. Type a name for the subclip, and click OK. Adjust media start and end times of a subclip 1 Select the subclip in the Project panel.
272 Editing Work 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. Adjusting a clip's In and Out points after it is already edited into a sequence is called trimming.
273 Editing 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. 3 To zoom in vertically, do one of the following: • To zoom in on a single channel, drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor.
274 Editing After you mark In and Out points, you can always change your mind before you edit the clip into the sequence. Drag the In or Out points to a new position in the time ruler. You can also drag the playhead to a new frame and use the Mark In or Mark Out buttons to set new In or Out points.
275 Editing Note: Timeline clip instances are not source clips. It is not possible to remove In points or Out points from timeline clips which have been loaded in the Source monitor. • Choose from the following three commands: • Marker > Clear In • Marker > Clear Out • Marker > Clear In and Out Note: You can also Alt-click (Windows), or Option-click (Mac OS) the Mark In button or the Mark Out button in the Source Monitor to clear an In or Out.
276 Editing A Regular Edit cursor B Regular Edit cursor C Ripple Edit cursor D Ripple Edit Cursor E Rolling Edit Cursor Note: Track targeting does not affect selection of edit points when using the mouse. Using modifier keys with trim tools • Use the Alt (Windows) or Option (Mac OS) modifier key to override normal linked-clip selection of associated edit points on other tracks, and only select the edit point that is clicked. This technique is useful for setting up a split edit (L or J-cut).
277 Editing Trim type context menu You can also select an edit point (or change the trim type of an existing edit point) by right--clicking at an edit point and choosing from a context menu that appears. The menu contains the following items: • Ripple Trim In • Ripple Trim Out • Rolling Edit • Trim In • Trim Out • Apply Default Transitions Select multiple edit points Multiple selection of edit points is possible, including more than one per track.
278 Editing the particular shortcut. You can use the menu item (or shortcut) for Deselect All to deselect edit points before using these shortcuts to start a new selection. Go to Next Edit Point and Go to Previous Edit Point Moves the playhead to the closest next or previous edit point on the targeted tracks. They maintain edit point selection at the playhead on targeted tracks, using the same type of trim as the previous selection.
279 Editing Trim with keyboard shortcuts The following keyboard shortcuts perform a trim whenever there is an active edit point selection, even if you are not in trim mode. If the full amount of the trim cannot be performed, the allowable amount is used and a tool tip indicates that the trim is blocked or limited by media or minimum duration. Trim Backward and Trim Forward Moves the edit points by one frame in the specified direction (left for backward, and right for forward).
280 Editing Press Ctrl (Windows) or Command (Mac OS) using the Selection tool to switch to the Ripple Edit tool. Note: To trim only one track of a linked clip, press Alt (Windows) or Option (Mac OS) as you click with a Trim icon. You do not need to hold down the Alt (Windows) or Option (Mac OS) key once you initiate the trim. Trim with the playhead You can trim a clip in a sequence to the location of the playhead.
281 Editing Ripple edit A ripple edit trims a clip and shifts subsequent clips in the track by the amount you trim. Shortening a clip by ripple editing shifts all clips after the cut back in time; conversely, extending a clip shifts the clips that follow the cut forward in time. When you’re making a ripple edit, empty space on one side of the cut is treated as a clip and shifts in time just as a clip would be.
282 Editing 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.
283 Editing Slip a clip with keyboard shortcuts You can use keyboard shortcuts to slip a clip in a Timeline. To slip a clip using keyboard shortcuts, select a clip (or multiple clips), and then do the following: • To slip clip selection left five frames: • Press Ctrl+Alt+Shift+Left (Windows). • Press Option+Shift+Command+Left (Mac OS). • To slip clip selection left one frame: • Press Alt+Shift+Left (Windows). • Press Option+Command+Left (Mac OS).
284 Editing Slide a clip with keyboard shortcuts You can use keyboard shortcuts to slide a clip in a Timeline. To slide a clip using keyboard shortcuts, select a clip (or multiple clips), and then do the following: • To slide clip selection left five frames: • Press Alt+Shift+, (Windows). • Press Option+Shift+, (Mac OS). • To slide clip selection left one frame: • Press Alt+, (Windows). • Press Option+, (Mac OS). • To slide clip selection right five frames: • Press Alt+Shift+. (Windows).
285 Editing Making split edits You can create a split edit by unlinking the video from the audio in adjoining clips in a sequence, and then trimming audio separately from video so that the video of one overlaps the audio of the other. Typically, a rolling edit (or extend edit) is used for this task. Pressing Alt (Windows) or Option (Mac OS) when you begin to perform a rolling edit temporarily unlinks video and audio, allowing you to more easily create a split edit (L-cut or J-cut).
286 Editing Entering trim mode Prior to entering trim mode, a good strategy is to select one or more edit points with a trim tool in the Timeline. These selected edits remain intact once you enter trim mode. You can also enter trim mode without selecting edits ahead of time. To enter trim mode, do one of the following: • Choose Sequence > Trim Edit (or press the T key). If there is an active edit point selection, the playhead moves to the nearest selected edit point.
287 Editing You can dynamically trim footage one frame at a time using J-K-L shortcuts. First select the edit point, then press the K key, and then tap either the J, or the L keys. 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.
288 Editing • Scrub the playhead, or use any other Timeline or Program Monitor navigation command that moves off a selected edit point such as Step Forward or Step Backward. • 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.
289 Editing You can also use this technique in the Timeline. Press the keyboard shortcuts for Trim Forward or Trim Backward, or use the numeric keypad. 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.
290 Editing • To close the Trim Monitor, click the close box of the Trim Monitor. 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.
291 Editing 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. • Drag the Outgoing Out Point icon in the left view’s time ruler, or drag the Incoming In Point icon in the right view’s time ruler.
292 Editing 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.
293 Editing 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.
294 Editing 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.
295 Editing 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. The linked source file appears anywhere the offline clip is used in a project.
296 Editing 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.
297 Editing Premiere Pro helps you locate and relink offline media by using the Link Media and Locate File dialog boxes. When you open a project containing offline media, the Link Media workflow lets you locate and relink the offline media, bringing them back online for use in your project. For more information on offline files, see Working with offline clips.
298 Editing 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.
299 Editing At any point later, you can open the Link Media dialog box and relink the offline clips in your project by doing one of the following: • Select the offline clip in the Timeline, and select Clip > Link Media. • 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.
300 Editing 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. Working with captions Captioning in Premiere Pro Premiere Pro provides a full set of captioning features that let you edit captions, create your own, and export them for display for all supported formats.
301 Editing You can import the files into your project in Premiere Pro just like you would import any other file by using one of the following options: • Select File > Import to import embedded caption files or caption "sidecar" files • Import through the Media Browser using the file's context menu Display captions in the Source Monitor and Program Monitor When you import caption clips into a project, the captions are displayed as caption blocks in the Captions panel.
302 Editing Create or edit captions A Filter caption content B Formatting toolbar C Editable text blocks D Add, delete caption blocks Create captions Premiere Pro lets you create captions from scratch. You can add text, apply formatting, and specify position and color. 1 Select File > New Captions. The New Captions dialog box appears displaying the video settings. Premiere Pro matches the caption video settings to the open sequence. Accept the default video settings and click OK.
303 Editing Export captions After you finish editing or creating caption files, you can export the sequence containing the captions through Premiere Pro or Adobe Media Encoder using the Export Settings dialog box. Or, you can export the sequence containing captions to tape using third-party hardware that supports closed caption encoding. Export captions using Premiere Pro or Adobe Media encoder 1 Load a closed caption asset in the Source Monitor or select it in the Project panel.
304 Editing Editing embedded captions Follow the same steps to edit an embedded caption file in Premiere Pro as you do to create a separate caption file. When you edit an embedded caption file, the edits are applied only within the project and the source file is not modified. Exporting media with embedded captions While exporting, you can choose to keep the captions embedded or split the captions into a separate sidecar file.
305 Editing A Closed Caption sidecar file contains multiple caption streams: for example, CC1, CC2. When such a clip containing multiple caption streams is added to a sequence, the Timeline shows separate track items for each stream. To switch among different caption streams, in the Captions tab, select a stream from the Caption Stream pop-up menu. Step 3: Export the edited video Once the closed captions are in sync with the media, you can export the edited video along with the Closed Caption file.
306 Editing Source patching and track targeting Adobe® Premiere® Pro lets you use source patcher presets to control insert and overwrite operations on your clips. This feature simplifies the edit workflow, without taking away your ability to overwrite an empty gap. Premiere Pro decouples source indicators from target tracks. Premiere Pro uses Source track indicators for the Insert and Overwrite operations. It uses track targets for Paste, Match Frame, Go To Next/Previous Edit, and other edit operations.
307 Editing Note: Creating a merged clip does not replace or alter the source clip(s). Merge clips in the Project panel To merge clips in the Project panel, do the following: 1 Select the video clip you wish to merge audio clips to. Note that you can have only one video clip in any merged clip. 2 Shift or Control-click (Command-click for Mac OS) to select the audio-only clips you wish to merge with the video clip.
308 Editing • Align the clips using the Synchronize function. To do so, do the following: 1 Select the clips you wish to synchronize. 2 Choose Clip > Synchronize. The Synchronize dialog box launches. Choose from one of the following options for the point of synchronization: • Based on the Clip Start • Based on the Clip End • Based on matching timecode • Based on clip markers Click OK. Your clips are now synchronized.
309 Editing Viewing metadata You can view the metadata a single component clip. To view the metadata for a component clip, choose the clip name from the File popup menu. Its metadata will appear in the metadata panel. Entering metadata You can enter metadata to a component clip or for the entire merged clip. • Set the File popup menu to the component clip you wish, and then enter metadata for the clip. • Set the File popup menu to All Files, and then enter metadata for the merged clip.
310 Editing • Merged clips or parts of previously merged clips can't be used to remerge or make a new merged clip. Only component clips may be used to create a merged clip. 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.
311 Editing Undo command 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.
312 Editing Events panel The Events panel lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug-ins and other components from third-party developers. An alert icon , , on the status bar notifies you of an error. Double-clicking the icon opens the Events panel, and clearing the associated item from the Events panel removes the icon from the status bar.
313 Editing 2 Select Clip > Video Options> Insert Frame Hold. The clip at the Playhead position is split and a two-second freeze frame is inserted. You can then trim the inserted freeze frame to any length. Export a still frame Use the Export Frame button to create a still image (freeze frame) from a movie clip. The Export Frame button in the Source Monitor and Program Monitor lets you quickly export a frame of video without using Adobe Media Encoder.
314 Editing A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed-control track appears in the upper portion of the clip, just below the clip title bar. 2 Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe .
315 Chapter 11: Audio Working with clips, channels, and tracks Mapping source and output audio channels Mapping the audio channels in clips determines the type and number of audio tracks in which they appear in a sequence. Also, mapping channels determines their destination channels within the master track, and therefore in the final output file. For example, if you map channels 1 and 2 in a stereo clip to the Left-Front and Right-Front channels in a 5.
316 Audio 2 In the Audio Tracks section of the Audio Preferences dialog box, select a format from the Default Track Format menu. 3 Click OK. Change the source audio channel mapping for one or more clips 1 Select one or more clips containing audio in the Project panel and choose Clip > Modify > Audio Channels. Note: If you select more than one audio clip, make sure that the track format is the same for all the selected clips.
317 Audio 2 In the Audio Channels pane of the Modify Clip dialog box, do any of the following: • Select a format from the Channel Format list. • To enable or disable an audio channel, select or deselect the Enable option for a source channel. When you add a clip to a sequence, Premiere Pro adds only the enabled channels to a Timeline panel. • To map a source channel to a different output track or channel, drag a track or channel icon to another source channel row.
318 Audio 3 To preview the audio in a channel, select the source channel and click the Playback button or use the slider. 4 Click OK. Note: You cannot modify audio channels of a merged clip. They must be mono by default. However, you can still reorder and enable/disable all of the available audio channels from the component clips. Map P2 clip audio for export to P2 You can export audio in P2 sequences back to their original four channels if you map clip audio channels to 5.1 channels correctly.
319 Audio 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 5.1 channel icons until they map the four source channels in this way: • Ch. 1 to Left-Front Channel. • Ch. 2 to Right-Front Channel. • Ch. 3 to Left-Rear Channel. • Ch. 4 to Right-Rear Channel. 6 Click OK.
320 Audio Extract audio from clips You can extract audio from clips and generate new audio master clips in a project. The original master clips are preserved. Any source channel mappings, gain, speed, duration, and interpret footage adjustments in the original master clips are applied to the new, extracted audio clips. 1 In the Project panel, select one or more clips containing audio. 2 Choose Clip > Audio Options > Extract Audio.
321 Audio Placing sound from one channel of a stereo clip into both channels If you have a stereo clip with sound recorded in only one channel, or if you have a stereo clip that has sound in one channel that you want to replace with the sound from the other channel, you can use source clip channel mapping, the Fill Left audio filter, or the Fill Right audio filter. Linking multiple audio clips You can link one video clip to multiple audio clips and you can link multiple audio clips together.
322 Audio 2 Do one of the following: • Shift-click to select each audio clip on separate tracks in a Timeline panel. You may also shift-click to select a video clip. • Shift-click to select more than one audio clip on separate tracks in a Timeline panel. All audio clips must have the same track format (mono, stereo, or 5.1 surround). 3 Choose Clip > Link. Edit a multi-clip link in the Source Monitor 1 In a Timeline panel, double-click a linked clip.
323 Audio Use the Pan knob to pan the mono track audio signal between odd and even channels of a multichannel sequence with 2 or more channels. There is no pan control for mono tracks with outputs assigned to a multichannel sequence with only 1 channel. Stereo track Standard (stereo) tracks can contain mono and stereo clips only. However, mono clip signal will be split into left and right channels and attenuated 3dB.
324 Audio Adpative track Adaptive tracks can contain mono, stereo and adaptive clips only. An adaptive track includes a balance control. Adaptive tracks have the same number of channels as its sequence. For example, in a stereo sequence, an adaptive track contains channels 1-2 available even when containing an adaptive clip with more than two channels. If it is desirable to make channels 3 or greater audible, use Modify Clip>Audio Channels to map any of the clip's channels to track channels 1-2.
325 Audio To work with audio, first import it into a project or record it directly to a track. You can import audio clips or video clips that contain audio. After the audio clips are in a project, you can add them to a sequence and edit them just like video clips. You can also view the waveforms of audio clips and trim them in the Source Monitor before adding the audio to a sequence. You can adjust volume and pan/balance settings of audio tracks directly in the Timeline or Effect Controls panels.
326 Audio audio from cameras that record multiple audio tracks. Adaptive tracks can also be used when working with merged clips, or multicam sequences. For more information, see this video. 5.1 Contains the following: • Three front audio channels (left, center, and right) • Two rear or surround audio channels (left and right) • A low-frequency effects (LFE) audio channel routed to a subwoofer speaker. 5.1 tracks can only contain 5.1 clips. You can add or delete tracks at any time.
327 Audio You can modify an audio clip by applying an effect to the clip or to the track that contains the clip. Consider applying effects in a planned, systematic way to avoid redundant or conflicting settings on the same clip. Chris and Trish Meyer provide an overview on the Artbeats website of how to mix and time multiple audio tracks for maximum clarity and story-telling impact.
328 Audio View audio clips You can view an audio clip’s Volume, Mute, or Pan time graphs and its waveform in a Timeline panel. You can also view an audio clip in the Source Monitor, which is useful for setting precise In and Out points. You can also view sequence time in audio units instead of frames. This setting is useful for editing audio at smaller increments than frames.
329 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.
330 Audio A Show/Hide Effects and Sends B Effects C Sends D Track output assignment E Automation mode Last updated 11/30/2015
331 Audio 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. If this option is chosen, you can still monitor audio in Premiere Pro for all tracks that aren’t being recorded.
332 Audio 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. • View valley indicators at low amplitude points.
333 Audio Monitor Stereo Pairs Only available for sequences with multi-channel masters played in the Timeline. For example, for an 8-channel multi-channel master sequence, you can monitor just channels 3 and 4 out of the left and right speakers. Note: Disabled channels are not displayed in the Source monitor or in the Audio Meters panel. Customize a VST effect in an options window 1 Apply a VST plug-in effect to a track in the Audio Mixer. 2 Double-click the effect in the Effects And Sends panel.
334 Audio 2 To navigate, do one of the following: • Drag the current-time indicator in the time ruler to navigate smoothly through the clip. • Click the Step Forward or Step Back buttons to move the current-time indicator one audio sample at a time. 3 Drag either end of the zoom scroll bar below the time ruler in the Source Monitor or Timeline panel. Trim audio in sample view in a Timeline panel 1 In a Timeline panel menu, choose Show Audio Time Units.
335 Audio 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. • To unlink video and audio from multiple clips, select the clips and choose Clip > Unlink. Note: After unlinking a clip, video remains selected while audio becomes deselected.
336 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.
337 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 the Timeline panel.
338 Audio 2 Choose Clip > Audio Options > Audio Gain. The Audio Gain dialog box opens and Premiere Pro automatically calculates the peak amplitude of the selected clips, reporting the calculated value in the Peak Amplitude field. Once calculated, this value is stored for the selection. You can use this value as a guide for the amount to adjust gain. 3 Select one of the following, set its value, and then click OK: Set Gain To The default value is 0.0 dB.
339 Audio 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. Show Clip Volume Lets you change only a clip’s Volume Level. Show Track Keyframes Lets you animate many audio track effects, including Volume, Mute, and Balance. Show Track Volume Lets you change only a track’s volume level.
340 Audio Set track volume in the Audio Track Mixer ? In the Audio Track Mixer, adjust the track’s volume setting. Note: You can use this procedure when automation isn’t applied to a track. If levels vary over time because track automation keyframes are already applied, you may be able to adjust the track level uniformly by sending it to a submix and setting the submix level. Mute a track in the Audio Track Mixer ? Click the “M” icon in the Audio Track Mixer.
341 Audio Modify keyframe values Record changes to sound tracks Delete keyframes Monitor clip volume and pan using Audio Clip Mixer The Audio Clip Mixer lets you adjust the volume and pan of clips under the playhead in the Timeline panel when the Audio Track Mixer or Program Monitor was more recently in focus than the Source Monitor panel prior to the Audio Clip Mixer having focus.
342 Audio Because there is a gap under the playhead (track A2 empty), the Clip Mixer displays an empty channel A2. The Clip Mixer lets you adjust clip volume, channel volume, and clip pan. Tracks in the Clip Mixer are scalable. The height and width of tracks and their meters depends on the number of tracks in the sequence as well as the height and width of the panel. To see the channel volume, right-click/Ctrl-click the Clip Mixer and select Show Channel Volume from the context menu.
343 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. Community resources: Video tutorial by Josh Weiss: Using the Audio Clip Mixer Audio Clip Mixer automation modes You can set Automation modes for a track from the pop-up menu at the upper right of the Clip Mixer.
344 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.
345 Audio Last updated 11/30/2015
346 Audio 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. • Click the value below the pan control knob, type a new value, and press Enter (Windows) or Return (Mac OS).
347 Audio Pan or balance a 5.1 surround track 1 In the Audio Track Mixer, click and drag the puck anywhere within the tray. To snap the puck to a left, right, or center channel, drag the puck to a pocket along the edge of the tray. 2 Adjust the center channel percentage by dragging the center percentage knob. 3 If needed, adjust the LFE (subwoofer) channel level by dragging the knob above the Bass Clef icon .
348 Audio Note: Direct Output Assignment button allows you to mark your mapping on the matrix and the labels right next to it lets you do a quick inspection of the mappings. 1 If the Audio Track Mixer is not open, select Window > Audio Track Mixer, and select the desired multichannel sequence. The labels next to the Direct Output Assignment button shows to which Master track channel Premiere Pro automatically assigned the channels of the initial tracks.
349 Audio An audio clip is created from the recording and is added to both the Timeline and Project panels. Capture analog audio If you want to use audio that isn’t yet in digital form (for example, from an analog cassette or a live microphone), you need to digitize it through an audio or audio/video digitizer/capture card.
350 Audio Record audio using the Audio Track Mixer 1 (Optional) If necessary, add an audio track to a Timeline appropriate for the number of channels you will record. For example, if you’re recording voice with a single monaural microphone, record to a mono audio track. See Work with tracks. A track appears in the Audio Track Mixer for each track you add to a Timeline. You will need to repeat this step if you’re recording to multiple tracks.
351 Audio c From the Button Editor dialog box that appears, drag-and-drop the Microphone button to the required audio track, and click OK. 2 Start the voice-over recording workflow Start a voice-over recording workflow by doing one of the following: • Mark a specific In/Out range to insert the audio recording. • Position the playhead at the starting point of inserting the voice-over.
352 Audio 2 Select Mute Input During Timeline Recording. More Help topics Specify the default audio device Specify ASIO device settings (Windows only) Specify the default audio device Audio Hardware preferences Premiere Pro Wikia: Setting upa USB microphone for use with Premiere Pro on Windows XP Specify scratch disks to improve system performance Recording audio mixes Using the Audio Track Mixer, you can apply changes to audio tracks as a sequence plays back.
353 Audio 7 To preview changes, change the current time to the beginning of your changes, and click the Play button Preserve a track property while recording an audio mix You can preserve the settings of a property while recording an audio mix, preventing a selected property from being edited. It protects that property across all tracks in a sequence. ? In the Effects And Sends panel for a track, right-click (Windows) or Control-click (Mac OS) an effect or send and choose Safe During Write from the menu.
354 Audio Automating audio changes in the Audio Track 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.
355 Audio 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. Premiere Pro provides a hardware control interface that lets you connect your control surface device with the application.
356 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.
357 Audio Bank and Nudge buttons: Control surfaces usually have a limited number of faders. Sometimes, the number of tracks in your sequence exceed the number of corresponding control surface faders. In this case, use the bank and nudge buttons on the control surface to navigate additional tracks . The bank buttons navigate to the next set of tracks in the project. Meters: Some control surfaces display track meters. EUCON from Avid's Artist Series displays track meters for mono, stereo, 5.1 tracks.
358 Audio 2 Select Edit > Edit In Adobe Audition and then select Clip or Sequence from the submenu. Audition launches. 3 Edit and save the clip or sequence in Audition. 4 Return to Premiere Pro. The audio file remains open in Audition until you close it. Dynamic Link streaming video The Dynamic Link video streaming feature lets you stream video without rendering when sending projects from Premiere Pro to Audition.
359 Audio Route a track’s output to a submix ? In the Audio Track Mixer, select the submix name from the track output menu at the bottom of the track. Route tracks with sends Each track contains five sends, located in the Effects And Sends panel in the Audio Track Mixer. Sends are often used to route a track’s signal to a submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix.
360 Audio Downmixing to fewer channels Whenever you route track output to a track or device with fewer channels, Premiere Pro must downmix the audio to the number of channels in the destination track. Downmixing is often practical or necessary because a sequence’s audio may be played back on audio gear supporting fewer audio channels than the original mix. For example, you might create a DVD with 5.
361 Chapter 12: Titles 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. You can load more than one title into the Titler.
362 Titles Create a title in Indic language Premiere Pro CC includes support for Indic languages, such as Hindi. You can now create titles using Indic text. The Premiere Pro Titler supports text composition in the following languages: • Latin and western scripts • Chinese, Japanese, and Korean (CJK) languages • Indian languages In Premiere Pro CC, the World-Ready composer is integrated with Titler. You can call the Indic text engine and set a title for a project.
363 Titles 3 Click OK. 4 To create a title, choose File > New > Title. 5 Click OK.
364 Titles 6 Choose the Mangal font and type a text string in Hindi into the Titler. You can do so in two ways: a Enable Hindi keyboard and download the necessary font. b Copy a text string in Hindi and paste it into the Titler. The Indic text engine makes the Indic alphabets, such as Hindi alphabets, appear properly in the Titler, without any text overflows. Open, import, or export a title Open a title for editing ? Double-click the title in the Project panel or in a Timeline panel.
365 Titles 3 Specify a name and location for the title and click Save. About safe margins in the Titler The title-safe and action-safe margins in the drawing area of the Titler designate the safe zones. These margins are enabled by default. Safe zones are useful when you edit for broadcast and videotape. Most TVs overscan the picture. Overscanning places the outer edges of the picture outside the viewing area. The amount of overscanning is not consistent across TVs.
366 Titles Set or restore a default template 1 With a title open, click the Templates button and select a template. • To set the selected template as the default template, choose Set Template As Default Still from the Templates panel menu. The default template loads each time you open the Titler. • To restore the default set of templates, choose Restore Default Templates from the Templates panel menu. 2 Click OK.
367 Titles 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. Copy the characters from a word processor or from the Character Map accessory (Windows only) and paste them into the correct text location in the Titler.
368 Titles 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.
369 Titles 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.
370 Titles 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. Slant Specifies the slant of an object, in degrees.
371 Titles 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. Video tutorial Learn to create and edit titles in Premiere Pro with this video tutorial.
372 Titles The following workflow outlines the steps to create text template compositions in After Effects containing source text that is editable in Premiere Pro. 1 Create an After Effects composition with one or more text layers. For more information about creating compositions in After Effects, see Composition basics. 2 Animate the text and apply any effects as required. For more information on animating text, see Animating text in After Effects.
373 Titles Creating duplicate templates When you use Live Text templates for editing animated lower-third graphics created in After Effects, you may need to create duplicates of the template. For example, if you are interviewing multiple subjects, you may need multiple templates with different textual content but the same animated lower-third graphics. You can then create duplicates of the After Effects composition and edit only the textual content while retaining the same animated lower-third graphics.
374 Titles Modify the style swatch display The Title Styles panel displays the default style library as well as style swatches you create or load. The display defaults to show large swatches of sample text with the loaded style applied. However, you can choose to view your styles in small swatches or by the style name only. ? In the Title Styles panel menu, choose one of the following: Text Only Displays only the style name.
375 Titles Note: This procedure deletes only the swatch or name from the display area. The style remains in the library. Use the Append Style Library, Reset Style Library, or Replace Style Library command to display the style library again. • To duplicate a style, select it, and choose Duplicate Style from the Title Styles panel menu. A duplicate of the selected style appears in the Title Styles panel. • To rename a style, select it, and choose Rename Style from the Title Styles panel menu.
376 Titles A Horizontal alignment buttons B Vertical centering button C Horizontal distribution buttons D Vertical alignment buttons E Horizontal centering button F Vertical distribution buttons Center objects in titles 1 In the Titler, select one or more objects. 2 In the Title Actions panel, click the button for the type of centering you want. Note: You can center objects using the Title > Position command and selecting the option you want.
377 Titles 2 Do one of the following: • In the Transform section of the Title Properties panel, adjust the Opacity value. • Choose Title > Transform > Opacity, type a new Opacity value, and click OK. Note: The opacity property setting adjusts the opacity of objects within a title. You can set the overall opacity of the entire title in the sequence as you would that of any video clip, using effects. Adjust the position of objects 1 Select an object, or Shift-click to select multiple objects.
378 Titles Distort an object or multiple objects 1 Select the object, or Shift-click to select multiple objects. 2 In the Properties section of the Title Properties panel, click the triangle next to Distort to show its X and Y options. Adjust the X value to distort the text along the x axis. Adjust the Y value to distort along the y axis. Note: Distort affects an entire graphic object’s horizontal (X) or vertical (Y) aspect. However, it affects each character in a text object individually.
379 Titles A Clipped Corner Rectangle B Wedge C Pen Tool D Ellipse E Rounded Corner Rectangle F Rounded Rectangle G Arc H Line I Rectangle ? Select a shape tool. • Shift-drag to constrain the shape’s aspect ratio. • Alt-drag (Windows) or Option-drag (Mac OS) to draw from the center of the shape. • Shift+Alt-drag (Windows) or Shift+Option-drag (Mac OS) to constrain the aspect ratio and draw from the center. • Drag diagonally across the corner points to flip the shape diagonally as you draw.
380 Titles Note: The first segment you draw is not visible until you click a second object anchor point. Also, if lines extend from either side of the point, you’ve accidentally dragged Pen Tool; choose Edit > Undo and click again. 3 Click again where you want the segment to end. (Shift-click to constrain the segment’s angle to multiples of 45°.) Pen Tool creates another object anchor point. 4 Continue clicking Pen Tool to create additional straight segments.
381 Titles • 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. Click or drag to close the path. • To leave the path open, Ctrl-click anywhere away from all objects or select the Selection tool.
382 Titles 2 Select Pen Tool . 3 Position the cursor over the point. When the cursor becomes an arrow with a square next to it, drag the object anchor point to adjust it. Convert object anchor points from one type to another You can change the type of object anchor point you have created for a segment. 1 Select the path you want to modify. 2 Select Convert Anchor Point Tool and position the cursor over the object anchor point that you want to convert.
383 Titles 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.
384 Titles 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.
385 Titles 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.
386 Titles 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. 2 In the Titler, do one of the following: • To delete strokes from an object, select the object.
387 Titles • 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. 3 In the Titler panel, click the Roll/Crawl Options button .
388 Chapter 13: 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.
389 Effects and transitions Because Fixed effects are already built in to each clip, you need only adjust their properties to activate them. Premiere Pro renders Fixed effects after any Standard effects that are applied to the clip. Standard effects are rendered in the order in which they appear, from the top down. You can change the order of Standard effects by dragging them to a new position in the Effect Controls panel, but you can’t reorder Fixed effects.
390 Effects and transitions For a current list of third-party plug-ins, see the Adobe website. Note: To edit a project containing add-on plug-ins on more than one computer, install the plug-ins on all the computers. 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.
391 Effects and transitions • Levels • Luma Corrector • Luma Curve • Noise • Proc Amp • RGB Curves • RGB Color Corrector • Sharpen • Sixteen-Point Garbage Matte • Three-way Color Corrector • Timecode • Tint • Track Matte Key • Ultra Keyer • Video Limiter • Vertical Flip • Cross Dissolve • Dip to 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.
392 Effects and transitions For instructions on filtering the effects in the Effects panel so that you can easily find high-bit-depth effects. See Filter effects by type. Note: 32-bpc effects render at 32 bits per channel only when every effect in the render pipeline is a 32-bpc effect. If you place an 8-bpc effect into a sequence that contains a 32-bpc effect, Premiere Pro renders all the effects in the sequence at 8 bits.
393 Effects and transitions Remove a Custom bin 1 In the Effects panel, select a Custom bin and do one of the following: • Click the Delete Custom Items button . • Choose Delete Custom Items from the Effects panel menu. • Press Delete. • Press Backspace. Note: You can remove Custom bins only from the Effects panel. 2 Click OK. 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 the Timeline panel.
394 Effects and transitions You can copy and paste individual effects in the Effect Controls panel. You can also copy all effect values (including keyframes for Fixed and Standard effects) from a clip in any sequence. You can paste these values to another clip in any sequence using the Paste Attributes command. With Paste Attributes, effects intrinsic to the source clip—Motion, Opacity, Time Remapping, and Volume—replace those effects in the destination clips.
395 Effects and transitions Disable or enable effects in a clip ? Select one or more effects in the Effect Controls panel, and do one of the following: • Click the Effect button to disable effects. • Click an empty Effect button box to enable effects. • Deselect or select the Effect Enabled command in the Effect Controls panel menu. You can create a custom keyboard shortcut for the Effect Enabled command. This will toggle an effect on and off.
396 Effects and transitions You can quickly optimize the interface for effects editing by selecting the Effects workspace. Choose Window > Workspace > Effects. 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. .
397 Effects and transitions • To expand or collapse an effect or its properties, click the triangle to the left of an effect heading, property group name, or property name. Expanding an effect heading reveals property groups, and properties, associated with that effect. For example, Three-Way Color Corrector is an effect heading. Tonal Range Definition is a property group. Shadow Threshold is a property. Expanding an individual property reveals a graphical control, such as a slider or dial.
398 Effects and transitions • To reset an effect’s properties to their default settings, click the Reset button next to the effect. All properties that don’t contain keyframes are reset to their default values. If a property contains keyframes, that property is reset to the default at the current time only. Keyframes that occur at the current time are reset to the default value. If no keyframes occur at the current time, new keyframes are created using the default values.
399 Effects and transitions Create and save an effect preset 1 In a Timeline, select the clip that uses one or more effects with the settings that you want to save as a preset. 2 In the Effect Controls panel, select one or more effects you want to save. Ctrl-click (Windows), or Command-click (Mac OS) effects to select more than one. 3 Click the panel menu icon to the upper right of the Effect Controls panel to open the panel menu.
400 Effects and transitions Destination type Result Audio track item only Video effects in preset are ignored. Both video and audio track items If you insert the preset into one of the audio tracks, then the audio effects are inserted at the targeted position. Adobe Premiere Pro appends the video effects to the end of the effects list for the video track item. Both video and audio track items If you insert the preset into the video track, then the video effects are inserted at the targeted position.
401 Effects and transitions About Master Clip effects In addition to applying effects to track items or clips in a sequence, Premiere Pro lets you apply effects to master clips. A master clip can be described as a parent clip, and all the sequence clips created from the master clip as child clips. To explain further, master clips are objects in the Project panel other than sequences, multi-camera source sequences, and bins.
402 Effects and transitions Enable or disable Master Clip effects in thumbnails You can apply Master Clip Effects to a clip to see a more accurate rendition of the clip's visual appearance. You can set the effects to a clip on a thumbnail in the Project panel. You can use the transform effect instead of motion/opacity for a master clip.
403 Effects and transitions Adjust Source Settings using the Effect Controls panel For RED, ARRI, CinemaDNG, DPX, and Sony F65 media files, you can adjust Source Settings by using the Master tab in the Effect Controls panel. Load a master clip in the Source monitor, and adjust Source Setting parameters, like while balance, saturation, and exposure. You can save the adjusted Source Settings as an Effect Preset to easily apply the same settings to other clips.
404 Effects and transitions No, you cannot directly apply a Master Clip effect to a sequence or a multi-camera sequence. What are the types of effects that can be applied on master clips? You can apply most of the video effects available in Premiere Pro except for the following: • Intrinsics effects: Motion, Opacity, Speed • Warp Stabilizer effect • Rolling Shutter Repair effect • Master Clip effects cannot be pre-rendered.
405 Effects and transitions You can create and modify different shaped masks, like an Ellipse or a Rectangle. Or, you can draw free-form Bezier shapes using the Pen tool. A Ellipse shape tool B Rectangle shape tool C Pen tool You can apply effects either inside or outside the masked area. One of the common uses of masking is to blur a person's face to protect their identity. For example, you can mask a person's face by applying a Blur effect or a Mosaic effect.
406 Effects and transitions Click the Pen tool to begin drawing the mask. You can create different shapes by drawing straight lines and curved segments. To draw smooth curves, you can draw Bezier path segments that provide you greater control over the shape of the mask. Draw straight path segments with the Pen tool The simplest path that you can draw with the Pen tool is a straight line with two vertex points.
407 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.
408 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.
409 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.
410 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.
411 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 (Windows) or Cmd+C (Mac OS). 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 (Windows) or Cmd+V (Mac OS).
412 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.
413 Effects and transitions Borders 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.
414 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.
415 Effects and transitions Learn tutorial Learn to apply basic video and audio transitions to your project in Premiere Pro with this video tutorial. 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.
416 Effects and transitions Using single-sided transitions, you have more control over how clips transition. For example, you can create the effect of one clip departing using the Cube Spin transition, and the next clip fading in using Dither Dissolve. Single-sided transitions fade to and from a transparent state, not to and from black.
417 Effects and transitions The default duration of a transition, for either audio or video, is set to 1 second. If a transition contains trimmed frames, but not enough to fill the transition duration, Premiere Pro adjusts the duration to match the frames. You can adjust the duration and alignment of a transition after you place it. Note: Transition commands operate on all merged audio track items together.
418 Effects and transitions Specify a default transition 1 Choose Window > Effects and expand the Video Transitions or Audio Transitions bin. 2 Select the transition that you want to make the default. 3 Click the Menu button for the Effects panel, or right-click the transition. 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).
419 Effects and transitions • When you paste a single-sided transition to a double-sided location, the transition becomes double-sided. 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.
420 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. .
421 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.
422 Effects and transitions 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. 3 In the Effect Controls time ruler, position the pointer over the transition, placing it on the thin vertical line that marks the cut. The pointer changes from the Slide Transition icon to the Ripple Edit icon . 4 Drag the cut as desired.
423 Effects and transitions Change transition settings 1 In a Timeline panel, click a transition to select it. 2 In the Effect Controls panel, adjust settings: Edge selectors Change the orientation or direction of the transition. Click an Edge selector arrow on the transition’s thumbnail. For example, the Barn Doors transition can be oriented vertically or horizontally. A transition doesn’t have Edge selectors if it has one orientation or if orientation isn’t applicable.
424 Effects and transitions Understand speed and duration • What is speed? The speed of a clip is the playback rate compared to the rate at which it was recorded. By default, a clip plays back at its normal, 100 percent speed. (Even if the frame rate of the source footage doesn’t match that of the sequence, the sequence automatically reconciles the difference. It plays back the clip at its proper speed.
425 Effects and transitions Change speed and duration for one or more clips You can change the speed and duration for one or more clips at a time. Premiere Pro offers several ways to modify the speed and duration of clips. You can use the Speed/Duration command, the Rate Stretch tool, or the Time Remapping feature. Note: You can apply Optical Flow only from the timeline or Export Settings dialog box, and not from the Project panel.
426 Effects and transitions 2 Click the Clip Effect menu triangle, and choose Time Remapping > Speed. (The Clip Effect menu triangle appears next to the filename of every clip in a video track. If it is hard to see, zoom in to make enough room in the clip to display it.) A horizontal rubber band that controls the speed of the clip appears across the center of the clip. 3 Drag the rubber band upward or downward to increase or decrease the speed of the clip.
427 Effects and transitions Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer. If a second clip immediately follows the lengthened clip in the video track, the lengthened clip is automatically trimmed where the second clip begins.
428 Effects and transitions Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer. 4 (Optional) To create a speed transition, drag the right half of the speed keyframe to the right, or the left half to the left. 5 (Optional) To change the acceleration or deceleration of the speed change, drag either of the handles on the curve control.
429 Effects and transitions Note: If the blue curve control does not appear, click in the gray area. 5 (Optional) To change the acceleration or deceleration of any part of the directional change, drag either of the handles on the curve control. The change of speed eases in or eases out according to the curvature of the speed ramp. Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects.
430 Effects and transitions Time Interpolation using Optical Flow 1 Right-click on the clip and choose Speed/Duration. The following dialog box appears. 2 In the Speed field, specify the desired playback speed for the clip in percentage value. 3 In the Time Interpolation dropdown, select Optical Flow. Click OK to commit. 4 Choose Sequence > Render In to Out or Render Selection to render the clip. Premiere Pro GPU acceleration completes the rendering process.
431 Effects and transitions Frame Blending In some footage, using Optical Flow for creating smoother motion may not produce the desired results. In such scenarios, you can use one of the other time interpolation options--Frame Sampling or Frame Blending. Frame Sampling repeats or removes frames as needed to reach the desired speed. Frame Blending repeats frames, and it also blends between them as needed to help smooth out the motion.
432 Effects and transitions Standard effects that allow direct manipulation of clips in the Program Monitor include all the Generate effects, Corner Pin, Crop, Garbage Matte, Lighting Effects, Mirror, Transform, Twirl, and more. This capability is indicated by the next to the effect name in the Effect Controls panel. Transform icon 1 Select a clip in the Timeline panel, and move the current-time indicator to a location of a frame within the clip.
433 Effects and transitions 3 Click on the arrow next to the Motion effect to reveal the motion controls. 4 Click on the arrow next to the Scale control within the Motion effect to reveal the Scale slider. 5 Move the Scale slider left or right to decrease or increase the size of the frame. Scale assets to frame size 1 Right-click (Windows) or Control-click (Mac OS) an asset in the timeline. 2 Select Scale To Frame Size.
434 Effects and transitions 2 Do one of the following: • Select the Motion effect in the Effect Controls panel. • Click the image in the Program Monitor. • Click the Transform icon next to Motion in the Effect Controls panel. Handles appear around the clip’s perimeter in the Program Monitor. 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.
435 Effects and transitions Move a clip along a curve You can move a clip along a curve using Bezier handles in the Program Monitor. 1 Select a clip in the Timeline panel. 2 Move the current-time indicator in either the 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.
436 Effects and transitions Adjust anchor points in the Program Monitor Note: This feature is applicable only for the built-in Motion effect and not for other effects that have an anchor point. You can move the anchor point of the Motion effect directly in the Program Monitor. 1 Open the Motion Controls in the Effect Controls panel and select the Anchor Point property. 2 Move the cursor over the anchor point or drag it, the shape of the cursor changes to .
437 Effects and transitions Adjustment layers in Premiere Pro behave similarly to the adjustments layers in Adobe Photoshop and Adobe After Effects. In this video by Todd Kopriva and video2brain, see how to quickly apply effects to an adjustment layer and how to modify effect properties while a sequence continues to play. Create an adjustment layer 1 Select File > New > Adjustment Layer. 2 In the Video Settings dialog box, modify settings for the adjustment layer, if necessary, and then click OK.
438 Effects and transitions About Color Correction effects You can find the color- and luminance-adjusting effects in the Color Correction bin inside the Video Effects bin. Although other effects also adjust color and luminance, the Color Correction effects are designed for making fine color and luminance corrections. You apply the Color Correction effects to a clip the same way you apply all Standard effects. The effect properties are adjusted in the Effect Controls panel.
439 Effects and transitions Note: All Color Correction effects have Secondary Color Correction controls except the Fast Color Corrector effect and Video Limiter effect. 8 Do any of the following: • To adjust color balance and saturation using color wheels, adjust the Hue Balance and Angle wheels or numeric controls in the Fast Color Corrector or Three-Way Color Corrector effect. • To adjust luminance or color using a curve control, use the curve adjustments in the Luma Curve or RGB Curves effect.
440 Effects and transitions 5 (Optional for the Three-Way Color Corrector only) Do any of the following: • To color balance by neutralizing a medium-gray area of the image, select the Gray Balance eyedropper and click an area that’s supposed to be a medium gray. • To color balance by neutralizing a black area in the image, select the Black Balance eyedropper and click an area that’s supposed to be black.
441 Effects and transitions Balance Magnitude Controls the intensity of the color introduced into the video. Moving the circle out from the center increases the magnitude (intensity). The intensity can be fine-tuned by moving the Balance Gain handle. Balance Gain Affects the relative coarseness or fineness of the Balance Magnitude and Balance Angle adjustment. Keeping the perpendicular handle of this control close to the center of the wheel makes the adjustment very subtle (fine).
442 Effects and transitions • To shift the colors toward a target color with gain and magnitude adjustment, drag the Balance Magnitude circle out from the center toward the color you want introduced into the image. The farther you drag the Balance Magnitude from the center, the introduced color is more intense. Drag the Balance Gain handle to fine-tune the intensity of the Balance Magnitude adjustment. You can make the adjustment very subtle.
443 Effects and transitions RGB Curves Adjusts both color and luminance. Note: If a clip is selected in a Timeline panel, you can drag the effect to the Video Effects section of the Effect Controls panel. 3 In the Effect Controls panel, click the triangle to expand the Luma Curve or RGB Curves controls. 4 (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu.
444 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.
445 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).
446 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.
447 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.
448 Effects and transitions 2 In the Effect Controls panel, click the triangle to expand the Luma Corrector, Luma Curve, RGB Color Corrector, RGB Curves, or Three-way Color Corrector effect. 3 Click the triangle to expand the Secondary Color Correction controls. 4 Select the Eyedropper tool and click the color you want to select in the Program Monitor. You can also click anywhere in the workspace to select a color, or click the color swatch to open the Adobe Color Picker and select a color.
449 Effects and transitions 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. You can also click the Target Color swatch and select a color in the Adobe Color Picker. 6 Choose the replacement color by clicking the Replace Color swatch and selecting the color in the Adobe Color Picker. 7 Broaden or reduce the range of the color you’re replacing by dragging the Similarity slider.
450 Effects and transitions 4 (Optional) Drag the slider, scrub the underlined text, or type a value for the channel’s constant value (Red-Const, Green-Const, or Blue-Const). This value adds a base amount of a channel to the output channel. 5 (Optional) Select the Monochrome option to create an image containing only gray values. This option achieves this result by applying the same settings to all the output channels.
451 Effects and transitions 6 Repeat the last step for all pixels that you want to include in the operation. You don’t need to type values for all of the cell settings. 7 Click the number next to Scale, and type the value by which to divide the sum of the brightness values of the pixels included in the calculation. 8 Click the number next to Offset, and type the value to be added to the result of the scale calculation. 9 Click OK. The effect is applied to each pixel in the clip, one at a time.
452 Effects and transitions 6 (Optional) Click the Transform icon to display the light’s handles and Center circle in the Program Monitor. You can directly manipulate the position, scale, and rotation of a light by dragging its handles and Center circle . Note: If you have more than one light, Center circles for each light appear in the Program Monitor. Clicking a Center circle displays the handles for a specific light.
453 Effects and transitions 2 Click the Toggle Track Output icon to hide the track containing the bump layer clip. 3 Add the Lighting Effects to a clip in the same sequence. 4 In the Effect Controls panel, click the triangle to expand the Lighting Effects. 5 (Optional) Click the triangle next to Light 1 to adjust the light’s properties. 6 Choose the video track containing the bump layer from the Bump Layer menu.
454 Effects and transitions In the Effects panel, choose Color Correction > Three-Way Color Corrector by double-clicking the effect in the Effects Panel or by dragging the effect to the clip in the Timeline. You can make adjustments to the different ranges using the Three-Way Color Corrector in the Effects Control panel. Output menu The Output menu has two options, Video and Luma. Split view The Split view provides a quick before and after comparison when you use the Three-Way Color Corrector.
455 Effects and transitions • The Mask option, previously present in the Output menu, is now available as Show Mask under Secondary Color Corrector. • The Invert menu replaces the Invert Limit Color option in Secondary Color Corrector. The available options in the menu are None, Invert Limit Color, and Invert Mask. • All changes made to controls under secondary color correction also apply to other effects that use secondary color correction. These effects include Luma Curve, Luma Corrector, and RGB Curve.
456 Effects and transitions To achieve the best results with mono files, convert them to stereo before applying the Chorus effect. Bypass Keyframeable option that specifies whether to apply or bypass the Chorus effect. Custom Setup Opens a mixer-style control panel that controls the properties with knobs. Individual Parameters Opens a set of parameter controls for the Chorus effect. LfoType Specifies wave type of Low Frequency Oscillator: Sin(e), Rect(angle), or Tri(angle).
457 Effects and transitions DeCrackler effect The DeCrackler effect removes crackling sounds from sources such as 16mm and 35mm film soundtracks, and shellac or vinyl recordings. The DeCrackler effect can also mitigate crackles caused by raindrops on windows, bad audio cables, the proximity of electrical devices to microphone cables, and clip-on microphones rubbing cloth. In the Effect Controls panel, Custom Setup for this effect shows Detected Crackles and Output monitors.
458 Effects and transitions Feedback Specifies a percentage of the delayed signal to be added back into the delay to create multiple decaying echoes. Mix Controls the amount of echo. DeNoiser effect The DeNoiser effect automatically detects tape noise and removes it. Use this effect to remove noise from analog recordings, such as magnetic tape recordings. This effect is available for 5.1, stereo, or mono clip. Noisefloor Specifies the level (in decibels) of the noise floor as the clip plays.
459 Effects and transitions MakeUp Adjusts the compressor’s output level (between –6 and 0 dB) to account for loss in gain caused by compression. Expander Reduces all signals below the specified threshold to the set ratio. The result is similar to the gate control but is more subtle. Use the following controls with Expander: Threshold Specifies a level in which the signal must fall to activate the expander. Levels that exceed the threshold are unaffected.
460 Effects and transitions Flanger effect Flanging is an audio effect caused by mixing a varying, short delay in roughly equal proportion to the original signal. It was originally achieved by sending an identical audio signal to two reel-to-reel tape recorders, and then pressing the flange of one reel to slow it down. Combining the two resulting recordings produced a phase-shifted, time-delay effect, characteristic of psychedelic music of the 1960s and 1970s.
461 Effects and transitions Ratio 1-3 Specifies the rate of compression, up to 8:1. Attack 1-3 Specifies the time (between 0.1 and 10 milliseconds) the compressor takes to respond to a signal that exceeds the threshold. Release 1-3 Specifies the time required for the gain to return to the original level when the signal falls below the threshold. Multitap Delay effect The Multitap Delay effect adds up to four echoes of the original audio in the clip. This effect is available for 5.
462 Effects and transitions Depth Determines the gain level of the modulation waveform, and thus controls the depth of the effect. Ranges from 0 to 100%. Delay To achieve a variety of possible effects, the phase-shifted signal will be delayed against the original signal. The Delay property sets the time for the delay. Ranges from 0.1 to 4.0 ms. Feedback Determines the amount of phase-shifted signal that will be mixed to the input signal. Using negative values will invert the phase again by 180 degrees.
463 Effects and transitions CursorMode Activates the adjustment of the filter frequency by the cursor. Swap Channels effect The Swap Channels effect switches the placement of the left and right channel information. Apply to stereo clips only. Treble effect The Treble effects lets you increase or decrease higher frequencies (4000 Hz and above). The Boost control specifies the amount, measured in decibels, to increase or decrease. This effect is available for 5.1, stereo, or mono clips.
464 Effects and transitions Working with audio transitions You can apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. To fade in or fade out, you add a crossfade transition to either end of a single clip. Premiere Pro includes three types of crossfade: Constant Gain, Constant Power, and Exponential Fade.
465 Effects and transitions Adjust or customize an audio transition ? Do any of the following: • To edit an audio transition, double-click the transition in a Timeline panel and adjust the transition in the Effect Controls panel. • To customize the rate of an audio fade or crossfade, adjust the clip’s audio volume keyframe graph instead of applying a transition.
466 Effects and transitions An effect can be applied pre-fader or post-fader. The difference is whether the effect is applied before or after the application of the track’s fader. Effects are pre-fader by default. In the Audio Mixer, effect options that change over time can be recorded using the automation options or specified in a Timeline panel by using keyframes. If you plan to use the same effect repeatedly, consider conserving system resources by sharing effects through a submix.
467 Effects and transitions Designate a track effect as pre-fader or post-fader ? In the Effects And Sends panel of the Audio Mixer, right-click (Windows) or Control-click (Mac OS) an effect and choose Pre-Fader or Post-Fader. Remove or bypass a track effect in the Audio Mixer ? In the effects list in the Audio Mixer, do one of the following: • To remove a track effect, click the triangle to the right of the effect you want to remove, and choose None.
468 Effects and transitions 2 In the Effects And Sends panel, click one of the downward-pointing triangles in the Effect Selection section, and select the name of an effect. 3 Double-click the effect name. The VST editor panel opens. This panel can be docked or grouped like any other panel. 4 In the VST editor window, specify the options. Note: The option controls for VST plug-in effects are also available at the bottom of the Effects And Sends panel.
469 Effects and transitions Interlacing and field order 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.
470 Effects and transitions • The editing or animation software that last rendered the clip had the field dominance set opposite that of the original clip, • The clip is set to play backward. 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.
471 Effects and transitions 2 Select Modify >Interpret Footage. 3 Choose the desired Field Order option. 4 Click OK. More Help topics Choose fields in the Source and Program Monitors Frame Blending 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.
472 Effects and transitions Picture-in-picture (PIP) and split screen You can use the Position and Scale controls of the Motion effect to create a picture-in-picture (PIP). 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.
473 Effects and transitions More Help topics Apply a transition between two clips Specify clip opacity in a Timeline panel Create a transparent video clip Lightning effect Lightning effect Reverb effect Morph Cut What is Morph Cut? Morph Cut is a video transition in Premiere Pro that helps you create more polished interviews by smoothing out jump cuts between sound bites.
474 Effects and transitions You are free to work with the footage or elsewhere in the project while the analysis occurs. After analysis is complete, a symmetrical transition is created, centered at the edit point. The transition duration matches the default of 30 frames specified for Video Transition Default Duration. You can change the default duration using the Preferences dialog. A typical transition duration that works well is about 10-20 frames.
475 Effects and transitions The following controls in the Effect Controls panel help you adjust the duration of the transition and align it accurately. Duration The default duration of a video transition is 30 frames. To change the default transition before applying a transition, use the Preferences dialog. In the General section, enter a new default for Video Transition Default Duration.
476 Effects and transitions • Are there any tips to ensure best results with Morph Cut? Here are some tips that can help you get good results: • Morph Cut works best with shorter transitions and similar head placement on either end of the cut. • Morph Cut performs best if there are few hand or face movements to interpolate. • After the initial application of Morph Cut, adjust the duration and symmetry of the transition as needed. For a complete list of best practices, see this article.
477 Chapter 14: 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.
478 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.
479 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.
480 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.
481 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.
482 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.
483 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.
484 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.
485 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.
486 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.
487 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.
488 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.
489 Chapter 15: 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.
490 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.
491 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 . 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.
492 Compositing 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.
493 Compositing Darken Each result color channel value is the lower (darker) of the source color channel value and the corresponding underlying color channel value. Multiply For each color channel, multiplies source color channel value with underlying color channel value and divides by maximum value for 8-bpc, 16-bpc, or 32-bpc pixels, depending on the color depth of the project. The result color is never brighter than the original. If either input color is black, the result color is black.
494 Compositing Linear Light Burns or dodges the colors by decreasing or increasing the brightness, depending on the underlying color. If the underlying color is lighter than 50% gray, the layer is lightened because the brightness is increased. If the underlying color is darker than 50% gray, the layer is darkened because the brightness is decreased. Pin Light Replaces the colors, depending on the underlying color.
495 Chapter 16: Exporting Workflow and overview for exporting Learn 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.
496 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.
497 Exporting Exporting projects for other applications Exporting 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.
498 Exporting 3 Click OK. Exporting AAF files Switch from Avid Media Composer Learn the simple workflow for exporting projects from Avid Media Composer and importing them into Premiere Pro. Advanced Authoring Format (AAF) is a multimedia file format that allows you to exchange digital media and metadata between platforms, systems, and applications. Authoring applications that support AAF, such as Avid Media Composer, read and write the data in AAF files to the extent that they support the format.
499 Exporting 2 In the Save Converted Project As dialog box, browse to a location for the AAF file, and type a file name. Click Save. 3 In the AAF Export Settings dialog box, select either Save As Legacy AAF, Embed Audio, or neither. Click OK. Premiere Pro saves the sequence to an AAF file at the specified location. The AAF Export Log dialog box opens to report any exporting issues.
500 Exporting Exporting a Final Cut Pro project XML file Switch from Final Cut Pro Learn the simple XML workflow for exporting projects from Final Cut Pro and importing them into Premiere Pro. 1 Choose File > Export > Final Cut Pro XML. 2 In the Save Converted Project As dialog box, browse to a location for the XML file, and type a file name. Click Save. Premiere Pro saves the sequence to an XML file at the specified location.
501 Exporting Export to Panasonic P2 format When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB. When Premiere Pro exports clips or sequences larger than 4 GB to P2 format, it exports them as groups of 4 GB spanned clips. For more information about clip spanning, see About spanned clips.
502 Exporting More Help topics Importing assets from tapeless formats About spanned clips Mapping source and output audio channels Exporting to DVD or Blu-ray Disc You can export sequences or portions of sequences in files formatted for authoring and burning to DVD and Blu-ray Disc. Alternately, you can export to Encore for authoring a DVD or Blu-ray Disc with menus, or direct burning to disc without menus.
503 Exporting The Encore Project panel contains the dynamically linked Premiere Pro project and sequence. 10 Finish authoring and exporting in Encore. For more information about using Encore to author and build DVDs, Blu-ray discs and SWF files, see Encore Help. Exporting to videotape You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape.
504 Exporting 6 Close other programs that might be running on your computer. Your computer is now ready to export your sequence directly to tape. Export a sequence to tape with device control Before you export to videotape using device control, make sure that both the computer and the camera or deck are set up properly, as you would when capturing video with device control (see Set up device control).
505 Exporting Note: If you want to use device control but it’s unavailable, click Cancel. Choose Edit > Preferences, click Device Control, make sure that your device is set up properly in the Device Control options, and click OK. Then try recording to tape again. Export a sequence to tape without device control You can export to videotape without device control by operating the playback controls in Premiere Pro and the recording controls on the device itself.
506 Exporting Select the proper frame rate Frame rate indicates frames per second (fps). If you have a higher data rate clip, a lower frame rate can improve playback through limited bandwidth. For example, if you compress a clip with little motion, cutting the frame rate in half can save you only 20% of the data rate. However, if you compress high-motion video, reducing the frame rate has a much greater effect on the data rate.
507 Exporting • Be aware of lighting. Poor lighting is a greater problem with mobile devices and can reduce visibility on small screens. Shoot and adjust with this limitation in mind. • Avoid excessive panning or rolling. Use the following tips when editing video with Adobe Premiere Pro and After Effects: • Set the frame rate for the output movie according to output device or output type.
508 Exporting 2 Select File > Export > OMF. 3 In the OMF Export Settings dialog box, type a title for the OMF file into the OMF Title field. 4 From the Sample Rate and Bits Per Sample menus, choose the settings needed for your sequence. 5 From the Files menu, choose one of the following: Encapsulate With this setting, Premiere Pro exports an OMF file containing the project metadata and all the audio for the selected sequence. Encapsulated OMF files typically are large.
509 Exporting Clip volume and clip keyframe volume By default, Premiere Pro exports clip volume levels and clip keyframe volume levels to the Clip Gain effect in the OMF file. You can set DigiTranslator to accept or ignore keyframe volume settings. Audio Transitions Premiere Pro exports audio transitions between two adjoining clips, both centered or not centered, as you specify. Audio Mixer pan settings One pan setting is exported per clip without keyframes.
510 Exporting For XDCAM formats, check the checkbox for smart rendering in the XDCAM exporter plug-in. If you have these types of clips in your timeline in a sequence with matching settings, are exporting out to MXF OP1a with a matching preset, and the checkbox is checked in the XDCAM exporter plug-in, it engages. Premiere Pro sees effects applied and falls back to regular rendering if needed. To disengage smart rendering, deselect the checkbox in the XDCAM exporter plug-in.
511 Exporting 3 Make adjustments to the EDL, choose a name, and destination, and then click OK. A CMX 3600 style EDL is created. 4 In SpeedGrade, refresh the desktop, and then navigate to the EDL. 5 Click the EDL. The edits are loaded into SpeedGrade. 6 In the Reels section, you see the offline clips. 7 In the sidebar, locate the original files. 8 Choose > Sequences from folder and sub-tree from the Sequence Folder View menu. The material from the media folder appears.
512 Exporting • Video tutorial: An overview of the interface • Video tutorial: Improved markers and importing from Prelude • Video tutorial: Sharing clips and rough cuts directly with Adobe Premiere Pro • Video tutorial: Adding comments Last updated 11/30/2015
513 Chapter 17: System Requirements System requirements for Premiere Pro System requirements for Premiere Pro Last updated 11/30/2015
