ADOBE® PREMIERE® PRO Help and tutorials February 2013
Contents What's New....................................................................................................................................................1 What's New in CS6..................................................................................................................................................................2 What's New in Adobe Media Encoder CS6.............................................................................................................................
Managing metadata.............................................................................................................................................................153 Working with aspect ratios...................................................................................................................................................157 Working with markers.........................................................................................................................................
Viewing and adjusting effects and keyframes......................................................................................................................336 Applying effects to audio......................................................................................................................................................338 Working with audio transitions..........................................................................................................................................
What's New 1
What's new in CS6 New features overview Introduction to Adobe Premiere Pro CS6 Redesigned, customizable user interface New default workspace Redesigned Source and Program Monitors Redesigned Project panel Timecode panel Primary edit display in Cinema mode Dropped Frame indicator Trackpad gesture support for Mac OS Editing workflow improvements Mercury Playback Engine improvements Efficient ingest and logging with Adobe Prelude Multicam improvements Improved trimming Continuous playback New functionality for
Redesigned Source and Program Monitors The Source and Program monitors have been redesigned to be more customizable. Customizable button bar. Timecode numbers can be toggled on or off (also available in the Timeline). Pop-up menu for direct access to playback resolution. Setting button for easier access to monitor settings.
To the top Editing workflow improvements Mercury Playback Engine improvements The Adobe Mercury Transmit feature enables third-party capture cards to plug directly in to the performance of the Mercury Playback Engine. The feature gives you access to CUDA acceleration and enhanced support for SDI I/O and professional broadcast monitoring.
markers is now available in clip markers. Customize markers in the redesigned Marker dialog box. View all of your clip markers in the new Markers panel. Resources: Working with Markers Video tutorial: Improved markers and importing from Prelude Improved Adobe Dynamic Link Improved Dynamic Link, including performance enhancements, and removal of the limitation of Dynamic Link to only work within a suite (for example, Dynamic Link will now work between CS6 applications purchased as individual products).
Video tutorial: Changes to the Audio Mixer and Audio Meters panels New audio track functionality Mono and stereo audio tracks are no longer separate. A new kind of audio track, called "Standard" can contain both stereo and mono clips. Resources: Overview of audio and the Audio Mixer Video tutorial: New audio track functionality Improved audio channel functionality in Source monitor In the Source monitor, you can now view clips with multiple audio channels, including grouped clips, or merged clips.
Three-Way Color Corrector effect (CS6) Video tutorial: Newly designed 3-Way Color Corrector effect Adobe SpeedGrade Color Correction Export sequences to Adobe SpeedGrade to professionally color-grade your work. To export your sequence to SpeedGrade, select it in the Project panel, and then choose File > Send to Adobe SpeedGrade. You can also export an EDL from Premiere Pro and import it into SpeedGrade and reconnect the clips. Note: Adobe SpeedGrade is a separate application.
What's New in Adobe Media Encoder CS6 Queue and Watch Folders: Independent handling of source and output Preset browser Import and export presets Improved scaling of source frames Creating custom workspaces Workflow enhancements Changes to exporters Keyboard shortcuts New keyboard shortcuts in CS6 Queue and Watch Folders: Independent handling of source and output To the top Source and output are now handled independent of each other.
A. User preset B. Alias created to a preset C. Preset group D. Create new preset E. Delete preset F. Create new preset group G. Preset settings H. Import presets I. Export presets J. Search for presets Create presets, preset groups, and aliases Preset Groups can contain user presets, aliases to presets, or other preset groups. Select Preset > Create Preset to create a preset. Select Preset > Create Group to create a preset group.
Drag a composition from the Project panel of an open After Effects project to a preset, preset group, or alias in the Preset Browser. Apply presets to video and audio assets Drag video and audio assets from Finder or Windows Explorer and drop them on a preset, preset group, or alias in the Preset Browser. Important considerations when applying presets Dropping a single preset on an output replaces the output.
Note: This option is the same as the Black Borders option in the Crop Settings menu of Adobe Media Encoder CS5.5. Change Output Size To Match Source Overrides the output frame size settings to match the crop settings of the source. Note: This option is the same as Change Output Size in the Crop Settings menu of Adobe Media Encoder CS5.5. To the top Creating custom workspaces In the new interface, you can group panels as tabs in a single frame or float them as separate panels. 1.
H.264 Blu-ray (Legacy) Preserves support for Match Source presets and Surcode for Dolby. MPEG4 (Legacy) Presets created in previous versions of Adobe Media Encoder can be imported into Adobe Media Encoder CS6. However, presets for H.264 and H.264 Blu-ray apply only to legacy exporters. Presets for the Audio Only or Windows Media exporters from previous versions cannot be imported.
3. Select Cut. 4. Click next to Ctrl+x to delete the existing command. 5. Click Add. 6. Press Ctrl+t. 7. Click OK. File menu Result Add watch folder Windows Mac OS Ctrl+Alt+I Cmd+Opt+I Stop current item Ctrl+ - (minus sign) Show log Ctrl+L Ctrl+L Show errors Ctrl+Alt+L Cmd+Opt+L Result Windows Mac OS Redo Ctrl+Shift+Z Cmd+Shift+Z Reset status Ctrl+ . (period) Cmd+.(period) Skip selection Ctrl+Shift+. (period) Cmd+Shift+.
Main user interface Result Close the current panel Windows Mac OS Ctrl+W Cmd+W Maximize/Restore the panel under the pointer cursor ` (backtick sign under tilde) Maximize or restore current panel Shift+` (bactick sign under tilde) Maximize/Restore panel under the pointer cursor (non-English keyboards) < < Shift+ < Shift+ < Up and Down Arrows Up and Down Arrows Maximize or restore current panel (nonEnglish keyboards) Select previous/next item in list ` (backtick sign under tilde) Shift+` (ba
Increase or decrease current value by 10 Shift+Up/Down Arrows Increase or decrease current value by 1 Up and Down Arrows Increase or decrease current value by .1 Ctrl+Up/Down Arrows Increase or decrease current value by .
What’s new (CS5.5) For a complete list of what’s new and changed in Adobe Premiere Pro CS5.5, see this post on the Premiere Pro Work Area blog. To see the new features of Adobe Premiere Pro CS5.5 in action, see this video tutorial series by Video2Brain. For more information about new features in Premiere Pro, see the Adobe website. Merged Clips Adobe Premiere Pro CS5.5 features a method for synchronizing "dual-system" audio and video.
What’s new (CS5) For Premiere Pro system requirements, see the Adobe website. For lists of various categories of hardware compatible with Adobe Premiere Pro, see the Adobe website. See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.2). See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.3). See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.4). See this page for what’s new and changed in Adobe Media Encoder CS5.
and can achieve complex keys on smoke, liquids, and transparent objects. For more information, see Chromakey with the Ultra Key effect. Native support for DSLR cameras Edit video from the latest DSLR cameras. New native support means that you never waste valuable production time transcoding or rewrapping, and always have access to the original file’s pristine quality.
Premiere Pro getting started tutorials To learn more, view these recommended resources online. Premiere Pro CS6 video tutorials (Aug. 14, 2012) Premiere Pro CS6: New Features Workshop (Apr. 12, 2012) Premiere Pro CS6: what's new and changed (Apr. 11, 2012) Getting Started with Premiere Pro (CS4, CS5, & CS5.5) (May. 20, 2011) Premiere Pro user-to-user forum (Apr.
Adobe Premiere Pro CS5/CS5.5 tutorials Essential Adobe Premiere Pro tutorials and learning resources for getting started and new features. To the top New content for CS6 Learn Adobe Premiere Pro CS6 video tutorials Getting started and what's new content To the top Getting started Setup Downloading, installing, and setting up Overview Getting Started with Adobe Premiere Pro (CS4, CS5, & CS5.
Unified audio effects in Adobe Premiere Pro CS5.5 (HTML) Adobe Premiere Pro CS5.5 improvements in CUDA processing and the Mercury Playback Engine (HTML) Adobe Premiere Pro CS5.
Workspace and workflow 22
Workspaces Import a workspace with a project Customizing workspaces Brighten or darken the interface The 2-up editing workspace (CS6) For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press. For an overview of the Premiere Pro interface, see this video from Learn By Video and Video2Brain by Maxim Jago. To the top Import a workspace with a project Workspace selections and customizations made in a project are saved in the project file.
choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly. Open the project you want to work on, choose Window > Workspace, and select the desired workspace. Dock, group, or float panels You can dock panels together, move them into or out of groups, and undock them so they float above the application window. As you drag a panel, drop zones—areas onto which you can move the panel—become highlighted.
Drag panel gripper to move one panel To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone. Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone. Undock a panel in a floating window When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window.
Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups Open, close, and scroll to panels When you close a panel group in the application window, the other groups resize to use the newly available space. When you close a floating window, the panels within it close, too. To open a panel, choose it from the Window menu. To close a panel or window, press Control-W (Windows) or Command-W (Mac OS), or click its Close button .
2. Choose the workspace you want to delete, and then click OK. Note: You cannot delete the currently active workspace. To the top Brighten or darken the interface You can lower the brightness, as when working in a darkened editing suite or when making color corrections. Changing the brightness affects panels, windows, and dialog boxes but does not affect scroll bars, title bars, and menus that aren’t inside panels. In addition, the change doesn’t affect the application background on Windows. 1.
Working with Panels Navigate the panels Display any panel full-screen Display panel options Display context and panel menus Tools panel and Options panel Clip details in the Info panel To the top Navigate the panels You can use keyboard shortcuts to activate panels in rotation. Do one of the following: To activate panels in rotation to the right, press Ctrl+Shift+. (period) (Windows), or Control+Shift+. (period) (Mac OS).
link to CS Services. You can also dock the Tools panel to the Options panel. Tools When you select a tool, the pointer changes shape according to the selection. For example, when you select the Razor tool and position the pointer over a clip in a Timeline panel, the icon changes to a razor . However, the Selection tool icon can change to reflect the task currently being performed.
2. Select Dock In Options Panel. Undock the Tools panel from the Options panel In the Options panel, click the dotted area to the left of Selection Tool. Premiere Pro removes the Tools panel from the Options panel, and returns the Tools panel to the location it had before docking to the Options panel. To the top Clip details in the Info panel The Info panel displays several data about a selected item, and timecode information for clips under the current-time indicator in the Timeline.
Using the Source Monitor and Program Monitor Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor Using the Source Monitor and Program Monitor time controls View safe zones in the monitors Choose fields in the Source and Program Monitors Choose a display mode To the top Source Monitor and Program Monitor overview The Source Monitor plays back individual clips.
The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain. Customizing the monitor panel button bar (CS6) By default, the most useful buttons are displayed along the bottom of the Source and Program Monitors. However, you can add more.
Change magnification The Source Monitor and Program Monitor scale video to fit into the available area. You can increase the magnification setting for each view to see the video in more detail. You can also descrease the magnification setting to see more of the pasteboard area around the image (to adjust motion effects more easily, for example). 1. Choose a magnification setting from the Select Zoom Level menu (to the right of the current time display) in the Source Monitor or Program Monitor.
You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab. Navigate clips in the Source menu in the Source Monitor To the top 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.
contract and expand the bar. You can also scroll the mouse wheel in the areas outside of the bars for the same expanding and contracting behavior. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag bar, you are not moving the playhead, however, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. A zoom scroll bar is also available in the Timeline.
Composite Video Displays the normal video. Alpha Displays transparency as a grayscale image. 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.
Customizing the Project panel Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel To the top Change Project panel views After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset.
from very small to large, and a new feature known as Hover Scrub.... Read More reTooled.net provides tutorials in editorial, design compositing, and innovative tools to maximize standard desktop applications and streamline everyday tasks. http://www.retooled.net/?p=372 Contribute your expertise to Adobe Community Help In Premiere Pro CS6, Icon view has the following features: Use the Zoom slider to increase or decrease the size of icons.
boxes next to the names of the columns you want to display. Note: If you can’t locate or change a property in the Metadata Display dialog box, Adobe Premiere Pro locks the property, so that you cannot change it. For example, you can delete properties you added, but not the properties built in to the Adobe Premiere Pro project metadata. 2. Click OK. Rearrange columns In the List view of the Project panel, drag the column header horizontally to the desired position.
Comment Optional comment, entered when the asset was logged or captured, intended for identification and sorting purposes. Log Note Field for optional text entered through the Capture panel or Edit Offline File dialog box. File Path Location of the file on disk, expressed as a folder path. Capture Settings Indicates whether a file has capture settings assigned in Premiere Pro. Status Whether an asset is online or offline. If a clip is offline, Status also indicates why.
Basic workflow The steps you take in editing video, from import or capture through final output, make up your workflow. The basic workflow describes the most general steps you would take with most projects. Specific types of workflows, such as the P2 workflow or the cross-platform workflow, explain the noteworthy settings, variations, or issues specific to each type.
For an overview of the Premiere Pro workflow, see this video from Video2Brain and Learn by Video, presented by Maxim Jago. To get started editing quickly with Premiere Pro, see this video from Video2Brain and Learn by Video, presented by Maxim Jago. 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.
Source Monitor, Program Monitor, and Timeline panel You add clips to a sequence in a 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 panels and Adding clips to a sequence.
task. Alternatively, you can view and adjust transitions and a clip’s effect keyframes in a Timeline panel. (See Transition overview: applying transitions and Apply effects to clips.) Effects panel in filtered view, Effect Controls panel, and Program Monitor 6. Mix audio For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Premiere Pro saves your adjustments in real time.
Export Settings dialog box and Encore New Project dialog box Adobe recommends Have a tutorial you would like to share? Adobe Premiere Pro CS5: Welcome to Premiere Pro Adobe Premiere Pro CS5: Get Editing Maxim Jago See this video tutorial by Maxim Jago on the Peachpit Press website to get started editing quickly with Premiere Pro. Maxim Jago See this video tutorial by Maxim Jago on the Peachpit Press website for an introduction to Premiere Pro. Getting Started with Adobe Premiere Pro (CS4, CS5, CS5.
The Basic Premiere Pro workflow on Adobe TV Legal Notices | Online Privacy Policy 46
Default keyboard shortcuts in CS6 Find keyboard shortcuts Video: New keyboard shortcuts in Adobe Premiere Pro CS6 Video: Keyboard shortcut changes in Premiere Pro CS6 Customize or load keyboard shortcuts Remove shortcuts Print keyboard shortcuts Selecting tools (keyboard shortcuts) File Edit Viewing panels Capture panel Multi-Camera Monitor Project panel Timeline Panel Titler Type alignment Trim Monitor panel Playback Resolution Audio Mixer Panel Effects Panel Workspace Media Browser Panel History Panel Eff
Adobe Premiere Pro Factory Defaults (Adobe Premiere Pro CS5) Adobe Premiere Pro CS5.5 (Adobe Premiere Pro CS5.5) Adobe Premiere Pro CS6 (Adobe Premiere Pro CS6) Avid Xpress DV 3.5 (Adobe Premiere Pro CS5) Avid Media Composer 5 (Adobe Premiere Pro CS5.5, and later) Final Cut Pro 7.0 3. In the Keyboard Customization dialog box, choose an option from the menu: Application Displays commands found in the menu bar, organized by category. Panels Displays commands associated with panels and menus.
Click the Clipboard button. Start a new document in a text editor. Paste the contents of the clipboard into the document.
Import from Media Browser Ctrl+Alt+I Opt+Cmd+I Import Ctrl+I Cmd+I Media Ctrl+M Cmd+M Select Ctrl+Shift+H Shift+Cmd+H Help F1 F1 To the top Edit Result Windows Mac OS Undo Ctrl+Z Cmd+Z Redo Ctrl+Shift+Z Shift+Cmd+Z Cut Ctrl+X Cmd+X Copy Ctrl+C Cmd+C Paste Ctrl+V Cmd+V Paste insert Ctrl+Shift+V Shift+Cmd+V Paste attributes Ctrl+Alt+V Opt+Cmd+V Clear Forward Delete Forward Delete Ripple Delete Shift+Forward Delete Opt+Delete Select Find Box Shift+F Shift+F Save
Set Work Area Bar Out Point Alt+] Opt+] Slip Clip Selection Left 5 Frames Ctrl+Alt+Shift+Left Arrow Opt+Shift+Cmd+Left Arrow Slip Clip Selection Left 1 Frame Ctrl+Alt+Left Arrow Opt+Cmd+Left Arrow Slip Clip Selection Right 5 Frames Ctrl+Alt+Shift+Right Arrow Opt+Shift+Cmd+Right Arrow Slip Clip Selection Right 1 Frame Ctrl+Alt+Right Arrow Opt+Cmd+Right Arrow Slide clip selection right 5 frames Alt+Shift+. (Period) Opt+Shift+.
Record Audio A Record Video V Navigate through editable fields Tab Cancel capture Esc Eject E Fast forward F Go to In point Q Go to Out point W Record G Rewind R Step Back Left Arrow Step Forward Right Arrow Stop S To the top Multi-Camera Monitor Result Windows Mac OS Play/Stop Spacebar Spacebar Record On/Off 0 0 Select Camera 1 1 Cmd+1 Select Camera 2 2 Cmd+2 Select Camera 3 3 Cmd+3 Select Camera 4 4 Cmd+4 Select Camera 5 5 Cmd+5 Select Camera 6 6 Cmd+6
Extend selection down Shift+Down Arrow Shift+Down Arrow Extend selection left Shift+Left Arrow Shift+Left Arrow Extend selection right Shift+Right Arrow Shift+Right Arrow Extend selection up Shift+Up Arrow Shift+Up Arrow Move selection down Down Arrow Down Arrow Move selection to the end End End Move selection to home Home Home Move selection left Left Arrow Left Arrow Move selection a page down Page Down Page Down Move selection a page up Page Up Page Up Move selection right
Set work area bar Out point Alt +] Option+] Clear In and Out points Ctrl+Shift+X Opt+X Clear In point Ctrl+Shift+I Opt+I Clear selection Backspace Delete Clear Out point Ctrl+Shift+O Opt+O Edit audio or video In point or Out point independently Alt-drag In point or Out point Option-drag In point or Out point Extend selected edit to Playhead E E Go to In point Shift+I Shift+I Go to Out point Shift+O Shift+O Go to next edit point Page Down Page Down Go to next Edit Point on Any T
Play forward at normal speed L L Play forward one frame at a time Hold K while pressing L Hold K while pressing L Play forward slowly (8 fps) Hold down K+L Hold down K+L Play in reverse at fast speed Hold down Shift while pressing J repeatedly until playing at the desired speed. Release Shift. Hold down Shift while pressing J repeatedly until playing at the desired speed. Release Shift.
To the top Titler Result Windows Mac OS Arc tool A A Decrease kerning by five units Alt+Shift+Left Arrow Option+Shift+Left Arrow Decrease kerning by one unit Alt+Left Arrow Option+Left Arrow Decrease leading by five units Alt+Shift+Down Arrow Option+Shift+Down Arrow Decrease leading by one unit Alt+Down Arrow Option+Down Arrow Decrease text size by five points Ctrl+Alt+Shift+Left Arrow Option+Shift+Cmd+Left Arrow Decrease text size by 1-point Ctrl+Alt+Left Arrow Option+Command+Left A
Position objects to the left title-safe margin Ctrl+Shift+F Command+Shift+F Position objects to the top title-safe margin Ctrl+Shift+O Command+Shift+O Rectangle tool R R Rotation tool O O Selection tool V V Type tool T T Vertical Type tool C C Wedge tool W W To the top Type alignment Result Windows Mac OS 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 To the top Trim Monitor panel Result
To the top Audio Mixer Panel Result Windows Mac OS Show/Hide Tracks Ctrl+Alt+T Opt+Cmd+T Meter Input(s) Only Ctrl+Shift+I Ctrl+Shift+I To the top Effects Panel Result Windows Mac OS New Custom Bin Ctrl+/ Cmd+/ Delete Custom Item Delete Delete To the top Workspace Result Windows Mac OS Workspace 1 Alt+Shift+1 Opt+Shift+1 Workspace 2 Alt+Shift+2 Opt+Shift+2 Workspace 3 Alt+Shift+3 Opt+Shift+3 Workspace 4 Alt+Shift+4 Opt+Shift+4 Workspace 5 Alt+Shift+5 Opt+Shift+5 Workspa
Step Backward Left Arrow Left Arrow Step Forward Right Arrow Right Arrow Delete Delete Delete To the top Effect Controls panel Result Windows Mac OS Remove Selected Effect Delete Delete Go to selected clip start (when Effect Controls panel is active) Home Home Go to selected clip end (when Effect Controls panel is active) End End Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Default keyboard shortcuts (CS5 and CS5.
Franklin McMahon provides a video tutorial on the Layers Magazine website that shows how to customize keyboard shortcuts. This video shows you how to transport your customized keyboard shortcuts to other Premiere Pro editing systems. Here is a tutorial by Clay Asbury about starting with the Final Cut Pro shortcuts in Premiere Pro CS 5.5, and then saving a custom layout. To the top Remove shortcuts Do one of the following: To remove a shortcut, select the shortcut you want to remove, and click Clear.
Effect Controls panel Shift+5 Effects panel Shift+7 Source Monitor panel Shift+2 Program Monitor panel Shift+4 Project panel Shift+1 Timeline panel Shift+3 Close active panel Ctrl+W (Windows), Command+W (Mac OS) Maximizes the panel under the pointer, regardless of what is active or selected.
Select Camera 2 2 Select Camera 3 3 Select Camera 4 4 Step Back Left Arrow Step Forward Right Arrow To the top Project panel (keyboard shortcuts) Result Windows Mac OS Delete selection with options Ctrl+Backspace Command+Forward Delete Extend selection down Shift+Down Arrow Shift+Down Arrow Extend selection left Shift+Left Arrow Shift+Left Arrow Extend selection right Shift+Right Arrow Shift+Right Arrow Extend selection up Shift+Up Arrow Shift+Up Arrow Move selection down Down
Set work area bar In point Alt+[ Option+[ Set work area bar Out point Alt +] Option+] Clear In and Out points G G Clear In point D D Clear selection Backspace Delete Clear Out point F F Edit audio or video In point or Out point independently Alt-drag In point or Out point Option-drag In point or Out point Go to In point Q Q Go to Out point W W Go to next edit point Page Down Page Down Go to previous edit point Page Up Page Up Go to selected clip end Shift+End Shift+End Go
repeatedly until playing at the desired speed. Release Shift. repeatedly until playing at the desired speed. Release Shift.
Arc tool A A Decrease kerning by five units Alt+Shift+Left Arrow Option+Shift+Left Arrow Decrease kerning by one unit Alt+Left Arrow Option+Left Arrow Decrease leading by five units Alt+Shift+Down Arrow Option+Shift+Down Arrow Decrease leading by one unit Alt+Down Arrow Option+Down Arrow Decrease text size by five points Ctrl+Alt+Shift+Left Arrow Command+Option+Shift+Left Arrow Decrease text size by 1-point Ctrl+Alt+Left Arrow Command+Option+Left Arrow Ellipse tool E E Increase kerni
Vertical Type tool C C Wedge tool W W To the top Trim panel (keyboard shortcuts) Result Windows Mac OS Focus on both Outgoing and Incoming sides Alt+1 Option+1 Focus on Incoming side Alt+3 Option+3 Focus on Outgoing side Alt+2 Option+2 Trim backward by large trim offset Alt+Shift+Left Arrow Option+Shift+Left Arrow Trim backward by one frame Alt+Left Arrow Option+Left Arrow Trim forward by large trim offset Alt+Shift+Right Arrow Option+Shift+Right Arrow Trim forward by one frame
Preferences Change preferences General preferences Appearance preferences Audio Preferences Audio Hardware preferences Audio Output Mapping preferences Change the Auto Save settings Capture preferences Device Control preferences Label Colors preferences Label Defaults preferences Media preferences Memory preferences Player Settings preferences (CS5.
Bin behavior when double-clicking on a bin, or double-clicking with the Shift or Option keys can be controlled in the Bins preference. In Premiere Pro CS6, you can choose to show the match sequence settings to clip dialog. To the top Appearance preferences In the Appearance pane of the Preferences dialog box, you can set the overall brightness of the user interface.
1. Choose Edit > Preferences > Auto Save (Windows) or Premiere Pro > Preferences > Auto Save (Mac OS). 2. Do any of the following, and then click OK: Select Automatically Save Projects, and type the number of minutes you would like between saves. For Maximum Project Versions, enter the number of versions of a project file you want to save. For example, if you type 10, Premiere Pro saves the ten most recent versions. 3. Click OK.
and sequences for the following: Source Monitor Program Monitor the preview area at the top of the Project panel Trim Monitor Multi-Camera Monitor the video transition preview in the Effect Controls panel. You can choose the default player for your computer, or a third-party plug-in player for Premiere Pro. Third-party players are installed with some capture cards. Note: Player Settings preferences are called Playback Settings preferences in Premiere Pro CS6.
Adobe Dynamic Link Adobe Dynamic Link (CS6) About Dynamic Link Dynamic Link performance Create and link to After Effects compositions with Dynamic Link Delete a dynamically linked composition or clip Modify a dynamically linked composition in After Effects Create an After Effects composition from clips in Premiere Pro (Production Premium only) Offline compositions and Dynamic Link To the top Adobe Dynamic Link (CS6) Premiere Pro CS6 has improved Dynamic Link that is faster, more stable, and includes the
Create a dynamically linked composition from Adobe Premiere Pro or Encore Creating a new dynamically linked composition from Adobe Premiere Pro or Encore launches After Effects.After Effects then creates a project and composition with the dimensions, pixel aspect ratio, frame rate, and audio sample rate of the originating project. (If After Effects is already running, it creates a composition in the current project.
the sequence settings from Premiere Pro and maintains a dynamic link to After Effects. You can edit the composition in Premiere Pro or in After Effects. 1. In a sequence, select the clips you want in the composition. 2. Right-click any of the selected clips. 3. Select Replace With After Effects Composition.
Cross-application workflows Edit a clip in its original application Working with Photoshop and Premiere Pro Copy between After Effects and Adobe Premiere Pro Working with Adobe Premiere Pro and Adobe Flash Working with Adobe Story, Adobe OnLocation, and Adobe Premiere Pro Working with Encore and Premiere Pro Working with Final Cut Pro and Adobe Premiere Pro Working with Avid Media Composer and Premiere Pro You can use various other Adobe applications to enhance or modify the assets used in a Premiere Pro pr
work in Photoshop. Similarly, if you are applying several paint strokes by hand to get rid of dust, consider using the Photoshop paint tools. The animation and video features in Photoshop Extended include simple keyframe-based animation. Premiere Pro, however, provides quite a bit more keyframe control over various properties. Exchanging still images Premiere Pro can import and export still images in many formats.
Copy from After Effects to Adobe Premiere Pro You can copy a layer based on a footage item from an After Effects composition and paste it into an Adobe Premiere Pro sequence. Adobe Premiere Pro converts these layers to clips in the sequence and copies the source footage item to its Project panel. If the layer contains an effect that is also used by Adobe Premiere Pro, Adobe Premiere Pro converts the effect and all of its settings and keyframes.
into After Effects. 1. Select an asset from the Adobe Premiere Pro Timeline panel. 2. Choose Edit > Copy. 3. In After Effects, open a composition in the Timeline panel. 4. With the Timeline panel active, choose Edit > Paste. The asset appears as the topmost layer in the Timeline panel. Note: To paste the asset at the current-time indicator, place the current-time indicator and press Ctrl+Alt+V (Windows) or Command+Option+V (Mac OS).
accurate video editing, including tools for optimizing video files for playback on computer screens and mobile devices. Adobe Flash Professional is a tool for incorporating video footage into presentations for the web and mobile devices. Adobe Flash offers technological and creative benefits that let you fuse video with data, graphics, sound, and interactive control. The FLV and F4V formats let you put video on a web page in a format that almost anyone can view.
Preview the disc Check the functionality and the look of your DVD or Blu-ray Disc menus in the Preview DVD window. Burn the disc With a DVD or Blu-ray Disc burner installed or connected, you can burn your content to disc. You can save the compressed files to a folder for playback from a computer hard drive. You can also save an ISO image to distribute or burn to a DVD. Note: Encore creates DVDs that conform to DVD-video format. It does not create data or audio DVDs.
Cross-platform workflow You can work on a project across computer platforms. For example, you can start on Windows and continue on Mac OS. A few functions change, however, as the project moves from one platform to the other. Sequence settings You can create a project on one platform and then move it to another. Premiere Pro sets the equivalent sequence settings for the second platform, if there is an equivalent.
Finding and customizing keyboard shortcuts Find keyboard shortcuts Customize or load keyboard shortcuts Remove shortcuts Print keyboard shortcuts Many commands have keyboard shortcut equivalents, so you can complete tasks with minimal use of the mouse. You can also create or edit keyboard shortcuts. The default shortcut set is called Adobe Premiere Pro Factory Defaults.
6. Type the shortcut you want to use for the item. The Keyboard Customization dialog box displays an alert if the shortcut you choose is already in use. 7. Do one of the following: To erase a shortcut and return it to the command that originally had it, click Undo. To jump to the command that previously had the shortcut, click Go To. To simply delete the shortcut you typed, click Clear. To re-enter the shortcut you typed previously, click Redo. 8. Repeat the procedure to enter as many shortcuts as you want.
Setting up your system Premiere Pro trial versions Set up a DV or HDV system Set up an SD-SDI, HD-SDI, or component system Set up a file-based system Set up an S-Video or composite system Specify the default audio device Specify ASIO device settings (Windows only) Specify whether to render audio when rendering video Specify the duration for preroll and postroll pauses Specify scratch disks to improve system performance Move or clean the Media Cache Database Optimize rendering for available memory For Premie
DV/HDV setup A. Computer and computer monitor B. 6-pin FireWire port and connector C. 4-pin FireWire port and connector D. DV/HDV camcorder E. RCA jacks and plugs for L (white) audio, R (red) audio, composite video (yellow); jack and plug for S-Video (y/c) F. HDMI port and connector G. Television monitor With this setup, you can capture audio and video from a DV or HDV source. You can monitor the signal on a TV monitor while editing. Finally, you can export any sequence back to videotape. 1.
from the video outputs of the computer or breakout box to the video inputs of the device. Also run video cables from the video outputs of the device to the video inputs of the computer or breakout box. 2. Connect the SD-SDI, HD-SDI, or component device to the computer or breakout box using XLR audio cables. Run audio cables from the audio outputs of the computer or breakout box to the audio inputs of the device.
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. To the top Set up an S-Video or composite system S-Video/composite setup A. Computer and computer monitor B. Ports and connectors for FireWire, USB 2.0 C. A/D converter D. Jacks and plugs for RCA composite video, S-Video (y/c) E. RS 232/422 port and connector F.
ASIO drivers for the device. If the sound card does not have manufacturer-supplied ASIO drivers, choose Premiere Pro WDM Sound for this setting. To enable a device, be sure to install an up-to-date driver for the device (Windows.) If you want to input more than two stereo channels or monitor 5.1 surround audio, the device driver must comply with the ASIO (Audio Stream Input Output) specification.
earlier project after editing another project with different scratch disk locations, Premiere Pro will seek out the files belonging to the earlier project at the scratch disk locations you chose for that project. If you delete preview files or conformed audio files for a project, Premiere Pro automatically recreates them when you reopen the project. By default, scratch disk files are stored where you save the project. The scratch disk space required increases as sequences become longer or more complex.
does not support capturing audio separate from video.) Set the locations for new files by choosing Edit > Preferences > Scratch Disks (Windows) or Premiere Pro > Preferences > Scratch Disks (Mac OS). If you don’t change the defaults, all files captured or created by Premiere Pro are stored in the same folder in which it stores the project files. Online resources for improving system performance See this forum thread for advice from experienced users on setting up disks for a video editing system.
Project setup 91
Creating and changing projects Create a project Review project settings Project Settings dialog box Open a project Delete a project file Moving a project to another computer A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each effect.
To create a project without a sequence, click Cancel. 5. (Optional) If you want to change where Premiere Pro stores various types of files, specify the scratch disk locations. See Specify scratch disks to improve system performance. Note: Premiere Pro supports high bit-depth (greater than 8 bits per channel) video necessary for editing standard and high definition footage.
Skip All Like Skip, Skip All replaces all missing files with temporary offline files. Important: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project. If you want to keep the file in the project but can’t locate it at the moment, use Offline instead. Skip Previews Stops Premiere Pro from searching for any preview files already rendered for the project.
Archiving projects The Premiere Pro Project Manager can help facilitate an efficient workflow by performing two functions: reducing the storage needs of a project, and consolidating the files associated with a project. Using Project Manager, you can create a version of your project, called a trimmed project, that references only the material used in your sequences. Also, you can specify which sequences to include in the trimmed project. You need not include all of them.
Trim or copy your project 1. Choose Project > Project Manager. 2. In the Source pane of the Project Manager window, check the box next to each sequence you want to include in your trimmed project. To check all boxes, Shift-click any one box. Note: Nested sequences are not automatically added to the trimmed sequences. If the sequence(s) you are trimming contain nested sequences, you also need to include these nested sequences in the selection so they are included in the trimmed project. 3.
The following online resources are available for more information about trimming or copying your project: Franklin McMahon demonstrates a few features for preparing a movie for export and review, including details about trimming a project in this video on the Layers Magazine website. Andrew Devis shows you how to trim and store your projects with the Project Manager in this video on the Creative Cow website.
Importing footage 98
Transferring and importing files File formats supported for import About transferring files About importing files Import files with the Media Browser Import files with the Import commands Import files using Adobe Bridge Channel support Premiere Pro trial versions (CS5, CS5.5, CS6) For information about shooting and capturing high-quality audio and video, see “Shooting and Capturing Great Video Assets,” from Premiere Pro CS5 Classroom in a Book.
to download the proper version (QuickTime Player 7.66 for Mac OS X v.10.6.3). For more information see the article, "Install QuickTime 7 Pro with Lion.” MP4 (QuickTime Movie, XDCAM EX) MPEG, MPE, MPG (MPEG-1, MPEG-2), M2V (DVD-compliant MPEG-2) MTS (AVCHD) MXF (Media eXchange Format; P2 Movie: Panasonic Op-Atom variant of MXF, with video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, AVC-Intra; XDCAM HD Movie, Sony XDCAM HD 50 (4:2:2), Avid MXF Movie), and native Canon XF (new in Premiere Pro CS5.
Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files. AI, EPS BMP, DIB, RLE DPX EPS GIF ICO (Icon File) (Windows only) JPEG (JPE, JPG, JFIF) PICT PNG PSD PSQ (Adobe Premiere 6 Storyboard) PTL, PRTL (Adobe Premiere title) TGA, ICB, VDA, VST TIF Supported video project file formats AAF (Advanced Authoring Format) AEP, AEPX (After Effects project) CSV, PBL, TXT, TAB (batch lists) EDL (CMX3600 EDLs) PLB (Adobe Premiere 6.
The folder structure for AVCHD assets The folder structure for DVCPRO HD assets The folder structure for XDCAM EX assets The folder structure for DVD-video assets To the top About importing files For a video overview of the ways to import assets into Premiere Pro, see the Adobe website. Importing is different from capturing. The Import command brings files that are already on your hard disk or other connected storage device into your project.
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 plugin activation, special disk access, and network permissions.
Premiere Pro imports the clip into the Project panel. You can also drag clips from the Adobe Bridge Content panel directly into the Premiere Pro Project panel. To the top Channel support Premiere Pro supports four-channel assets. Every processed pixel in the render pipeline uses four channels. When Premiere Pro processes a three-channel asset, such as DV, HDV, or MPEG footage, Premiere Pro automatically converts it to a four-channel asset.
Importing assets from tapeless formats Import assets from file-based sources with Media Browser About spanned clips File-based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures. These formats include Panasonic P2 camcorders, Sony XDCAM HD and XDCAM EX camcorders, Sony CF-based HDV camcorders, and AVCHD camcorders.
coherent clips, and does not import irrelevant non-media files sometimes found in the folders of tapeless media. You can drag selected assets directly into the Project panel from the Media Browser. You can also select assets, and then choose File > Import from Media Browser, or right-click and then choose Import from the context menu. Note: In Premiere Pro CS6, the default workspace has the Project panel and the Media Browser docked into the same panel.
Importing still images Preparing still images before importing Importing Photoshop and Illustrator files Import numbered still-image sequences as video clips You can import individual still images into Premiere Pro or import a numbered series of still images as a sequence. You can import still images from Adobe applications such as Photoshop and Illustrator. For information about the still-image formats that Premiere Pro imports, see File formats supported for import.
as opaque white, whereas it exports a checkerboard background as a transparent alpha channel when exporting to a format that supports alpha channels. Importing layered Photoshop files makes it easy to use graphics created in Photoshop. When Premiere Pro imports Photoshop files as unmerged layers, each layer in the file becomes an individual clip in a bin. Each clip’s name consists of the layer name followed by the name of the file that contained it.
Working with Photoshop and Premiere Pro Media preferences Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Importing digital audio Using audio from audio CDs Using compressed audio formats Using audio from Adobe Soundbooth Audio sample rates supported Conforming audio You can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored on computer hard disks, audio CDs, or digital audio tape (DAT) as binary data readable by computers. To keep quality as high as possible, transfer digital audio files to your computer via digital connections.
These rules determine which types of audio get conformed: Uncompressed audio Premiere Pro does not conform audio in uncompressed clips that were recorded in one of the natively supported sample rates, when you use these clips in sequences with matching sample rates. Premiere Pro does conform audio in uncompressed clips when you use them in sequences with non-matching sample rates. However no conforming is done until you export the sequences or create audio preview files.
Importing sequences, clip lists, libraries, and compositions Import clips from Adobe OnLocation projects using the Media Browser Importing earlier Premiere Pro projects Import selected sequences from Premiere Pro projects Import a Premiere Elements project (Windows only) Importing libraries (Windows only) Importing After Effects compositions Import CMX3600 EDL projects Import clips from Adobe OnLocation projects using the Media Browser To the top In Adobe OnLocation, you can set In and Out points on clip
Import a Premiere Elements project (Windows only) To the top 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. To the top Importing libraries (Windows only) Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file.
Importing XML project files from Final Cut Pro Import an XML file from Final Cut Pro Final Cut Pro clip data Final Cut Pro effects and transitions Final Cut Pro composite modes Final Cut Pro Multiclips You can import entire projects, selected clips, or selected sequences that you export from Final Cut Pro as XML files. In Premiere Pro, bins and clips have the same hierarchies and names that they have in the Final Cut Pro source projects.
Conversion of Final Cut Pro video transitions Final Cut Pro transition Premiere Pro transition Dip To White Dip To White Dip to [color] Dip To Black Edge Wipe transitions Wipe, with the wipe direction rounded to the closest of the eight Premiere Pro supported directions.
Travel Matte Alpha Not supported Travel Matte Luma Not supported To the top Final Cut Pro Multiclips Premiere Pro converts uncollapsed Final Cut Pro Multiclips, with as many as four inputs, to Multi-camera sequences. Premiere Pro converts collapsed Multiclips to individual clips. Note: Premiere Pro issues a warning when you try to import a Multiclip with more than four inputs.
Support for growing files Support for growing files in Premiere Pro CS6 Growing files are those that grow in duration after they are ingested. Premiere Pro CS6 supports growing files for those needing that workflow. Supported codecs for growing files include: AVCI50/100 IMX30/40/50 RDD9-compliant XDCAM HD 50/35/25/18 QuickTime wrapped files in these formats are supported in Premiere Pro CS6 (6.0.
Working with Adobe Prelude CS6 To the top Working with Adobe Prelude You can use Adobe Prelude CS6 to ingest clips, transcode footage, create subclips markers, and rough cuts, and then import that data into Premiere Pro CS6. Exporting files from Adobe Prelude You can export files from Adobe Prelude to be imported by Premiere Pro.
Batch capturing and recapturing About logging clips Log clips for batch capturing About batch capturing Choosing batch-capture settings Batch capture clips Troubleshooting batch capturing Import and export batch lists Recapture clips To the top About logging clips You can specify which shots you want to use from source tapes by logging them as a set of offline clips for later capture.
Capture panel with Logging active When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section. Because of the nature of Long GOP formats, inaccuracy in actual media content is possible. Adding handles assures that you have the proper frames needed for editing and, if need be, recapturing. Log clips interactively 1. Make sure that your device is connected and in VTR or VCR (not Camera) mode, and then choose File > Capture. 2.
To the top About batch capturing Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device. You can define a batch by selecting a group of clips you have logged. These appear as offline (placeholder) clips in the Project panel or in a bin. You can capture any number of logged offline clips by selecting them and choosing File > Batch Capture.
2. Choose Clip > Capture Settings > Set Capture Settings. The Capture Settings dialog box opens. 3. See Specify capture settings. Remove capture settings from an offline clip 1. In the Project panel, select the clip. 2. Choose Clip > Capture Settings > Clear Capture Settings. By default, Premiere Pro captures this clip with the project capture settings. To the top Batch capture clips 1. Select the offline clips that you want to capture, and then choose File > Batch Capture. 2.
To export a batch-list timecode log, select the files that you want to log. Then choose Project > Export Batch List. Specify a filename and location, and click Save. To the top Recapture clips You can recapture clips in an existing project using batch capturing. Clips can be recaptured only if they have been unlinked from their source files, becoming offline clips; if they have names in their Tape Name fields; and if their source medium contains timecode. 1.
Capturing DV or HDV video You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port. You can capture DV or HDV footage from XDCAM or P2 devices. You can capture through SDI ports if your computer has a supported third-party capture card or device installed. Also, your computer must have the respective drivers.
Capturing HD video You can capture audio and video from an HD device with an SDI port. Your computer must have a supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD footage from XDCAM SDI sources provided a supported XDCAM capture card is installed, along with its respective driver. Correct installation adds HD presets to the Available Presets pane of the New Sequence dialog box.
Capturing and digitizing About capturing and digitizing System requirements for capturing Set capture format, preferences, and tracks Capture from stereo sources to mono tracks File size limits Set up device control Disable device control Capture without device control Capture with device control Determine whether your device is online Log clips with automatic scene detection Common capture issues Andrew Devis demonstrates capturing and batch capturing from miniDV tape using Adobe Premiere Pro in this video
this feature using the camcorder menu system. To the top 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.
To the top Capture from stereo sources to mono tracks You can capture from sources containing stereo or 5.1 audio channels so that each audio channel maps to its own mono audio track automatically. The Mono Default Track Format preference enables this behavior for footage captured from multi-channel sources, and for imported multi-channel files. For more information about audio channel mapping, see Mapping source and output audio channels. 1.
2. Select the type of device you want to control from the Devices menu. 3. Click Options. 4. (Optional) If you are connecting a DV or HDV device, make your selections from the Video Standard, Device Brand, Device Type, and Timecode Format menus. In the Device Type menu, if your particular model is not listed, do one of the following: select a model from the same family (if known), leave at Standard, click Go Online For Device Info. 5.
Device controls in the Capture panel You can use the controls in the Capture panel to operate the device as you log clips. The jog control lets you navigate quickly to nearby lets you change the speed of the tape as you play it forward or backward. The Record button lets you begin a frames. The shuttle control manual capture. when the tape is stopped, the device rewinds the tape at full speed.
Capture an entire tape or portion of a tape 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 are preserved for the project, but you set them again for each new project. 3. In the Capture panel, make sure that the device is online, as indicated above the preview. 4. Insert a tape into the device. Premiere Pro prompts you to name the tape. Be sure not to give any two tapes the same name.
To the top 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.
Capturing content for DVD DVD content is compressed according to DVD specifications so that it plays reliably on a wide range of players. When preparing content for a DVD project, pay attention to frame size and frame rate, so that content retains its quality in the transition to DVD. For best results, make sure that you capture or record according to these specifications: Frame size NTSC standard 720x480 or PAL standard 720x576.
Create clips for offline editing Create low-resolution clips for offline editing Replace low-resolution clips with high-resolution clips for online editing For online editing, you edit clips at the level of quality required for the final version of the video program. This is the default method of working in Premiere Pro. Online editing works well when the speed and storage capacity of the host computer are adequate to the demands of the video formats used.
Digitizing analog video About capture card settings Digitize analog video In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer. Alternatively, you can dub the analog footage to a digital format, and then capture the video from a digital device through a capture card as any other digital source.
and click the Record button in the Capture panel. If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source.
Working with timecode About timecode Choose timecode display format Change how timecode is displayed Stripe tape or replace timecode Capturing timecode Set timecode manually for a clip Enter timecode View timecode as a burn-in View source timecode in the Program Monitor View timecode in the Timecode panel (CS6) To the top About timecode Many camcorders and high-end video decks record timecode, which marks specific frames with unique addresses.
Start At 00:00:00:00 Starts timecode shown for every clip at 00:00:00:00. 3. In the Frame Count menu, choose one of the following: Start At 0 Numbers every frame sequentially, with the first frame numbered 0. Start At 1 Numbers every frame sequentially, with the first frame numbered 1. Timecode Conversion Generates frame number equivalents of the source timecode numbers. 4. Click OK.
7. Make sure that the recording device is set to record from the digital port. 8. Begin recording the new tape and then start your original tape playing. Let the camcorders or decks run until the entire original tape has been copied. Note: Scene Detect recognizes the starting and stopping points for each shot by looking for jumps in the timestamps. Because copying a tape this way creates a single clip with a continuous timestamp, you can’t use Scene Detect when you capture the copy in Premiere Pro.
7. Adjust the options as needed. To the top View source timecode in the Program Monitor You can display the source timecode in the Program Monitor preview for clips in a sequence as you edit: If you trim a clip, the clip’s source timecode is displayed. If you perform a slide edit, the new source media In and Out points for the adjacent clips are displayed. If you perform a slip edit, the clip’s new source media In and Out points are displayed.
Managing assets 141
Customizing the Project panel Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel To the top Change Project panel views After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about each asset in your project. You can view and sort assets in either List view or Icon view. List view displays additional information about each asset.
from very small to large, and a new feature known as Hover Scrub.... Read More reTooled.net provides tutorials in editorial, design compositing, and innovative tools to maximize standard desktop applications and streamline everyday tasks. http://www.retooled.net/?p=372 Contribute your expertise to Adobe Community Help In Premiere Pro CS6, Icon view has the following features: Use the Zoom slider to increase or decrease the size of icons.
boxes next to the names of the columns you want to display. Note: If you can’t locate or change a property in the Metadata Display dialog box, Adobe Premiere Pro locks the property, so that you cannot change it. For example, you can delete properties you added, but not the properties built in to the Adobe Premiere Pro project metadata. 2. Click OK. Rearrange columns In the List view of the Project panel, drag the column header horizontally to the desired position.
Comment Optional comment, entered when the asset was logged or captured, intended for identification and sorting purposes. Log Note Field for optional text entered through the Capture panel or Edit Offline File dialog box. File Path Location of the file on disk, expressed as a folder path. Capture Settings Indicates whether a file has capture settings assigned in Premiere Pro. Status Whether an asset is online or offline. If a clip is offline, Status also indicates why.
Organizing assets in the Project panel Working with bins Label assets Rename assets Jump to an asset in the Project panel Find assets in the Project panel Find assets matching criteria Finding clips with Face Detection Remove assets from a project Define a different thumbnail for clips Edit cells in the Project panel Viewing clip properties Viewing field order for clips Determining if a clip has interlaced or progressive scanning Change the frame rate of clips To the top Working with bins The Project pan
selecting one or more bins, and then pressing the Delete key. See the entire series of video tutorials about the Project panel by Andrew Devis on the Creative Cow website. Project Panel 1 - Organizing, Automating, and Searching in the Project Panel Project Panel 2 - New Items and Templates Project Panel 4 - Importing Footage Article: How to work with bins Antony Bolante shows you how to work with bins in Premiere Pro.... Read More by Antony Bolante http://www.lynda.com/Antho... http://premiere.
To the top 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. To select all assets with the same label, select an asset that uses the label and choose Edit > Label > Select Label Group.
Text Transcript Searches only the Speech To Text metadata field. 2. Do one of the following: Place the cursor in the Find box in the Project panel. Select the Project panel, and press Shift+F. 3. (Optional) Click the magnifying glass icon in the Find box to see a menu listing the most recently searched terms. 4. Type the term for which you want to search. The Project panel shows only assets that match the search criteria. The magnifying glass menu suggests search terms.
Click the magnifying glass in the Find box and choose Find Faces, Choose Edit > Find Faces. The Project panel displays only clips containing faces. All bins remain visible in this filtered view to allow you to drag clips to them. 2. To clear the filter, click the X on the right side of the Find box. The Project panel displays all clips. To the top Remove assets from a project You can remove assets you don’t need from the Project panel without removing them from your hard disk.
To save the new data, and to highlight the previous cell for the same clip, press Shift+Tab. To save the new data, and to highlight the same cell in the next clip, press Enter (Windows) or Return (Mac OS). To save the new data, and to highlight the same cell in the previous clip, press Shift+Enter (Windows), or Shift+Return (Mac OS). Note: In Icon View of the Project panel, press Tab to highlight the filename of the next asset and to place it in editing mode.
Creative COW: Enhanced Bins In Premiere Pro CS3 Find and group effects Create a custom sequence preset Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Managing metadata About the Metadata panel and XMP About the Metadata panel in Premiere Pro About file, clip, and project XMP metadata Using clip metadata and file metadata Edit XMP metadata Search XMP metadata Show or hide XMP metadata View clip data in the Metadata panel Link clip data to XMP metadata To the top About the Metadata panel and XMP To streamline your workflow and organize your files, use XMP metadata. Metadata is a set of descriptive information about a file.
on. Fields under the File and the Speech Transcript headings show XMP metadata. Using Speech Search, you can transcribe words spoken in a clip to text. Then search the text to find where a specific word is spoken in the clip. For more information about using Speech Search, see Analyze speech for text XMP metadata. For more information about XMP metadata, see the overview on the Adobe web site. For more information about XMP metadata, see the white paper on the Adobe web site.
If you selected multiple items, the panel displays properties as follows: If a property matches for all items, the matching entry appears. If a property differs, appears. To apply matching values, click the text box, and type. To the top Search XMP metadata 1. Select the files or clips you want to search. 2. In the search box at the top of the Metadata panel, enter the text you want to find. The list of metadata collapses to reveal only properties that contain your search string. 3.
Integer Displays whole numbers that you drag or click to change. Real Displays fractional numbers that you drag or click to change. Text Displays a text box (for properties similar to Location). Boolean Displays a check box (for On or Off properties). To the top 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.
Working with aspect ratios About aspect ratios Using assets with various aspect ratios Fix aspect ratio distortion Correct individual aspect ratio misinterpretations Correct recurring aspect ratio misinterpretations Common pixel aspect ratios To the top About aspect ratios An aspect ratio specifies the ratio of width to height. Video and still picture frames have a frame aspect ratio, and the pixels that make up the frame have a pixel aspect ratio (sometimes referred to as PAR).
NTSC displays A. 16:9 NTSC footage B. DVD player display using original widescreen format on widescreen TV screen C. 16:9 image on a 4:3 TV screen cropped using automatic pan and scan D. 16:9 image on a 4:3 TV screen using automatic letterboxing to reduce overall frame size and display entire image Pixel aspect ratio For a video that explains the basics of pixel aspect ratios, see the Adobe web site. Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame.
To the top Using assets with various aspect ratios Premiere Pro automatically attempts to preserve the frame aspect ratio of imported assets, sometimes changing the pixel aspect ratio, the frame dimensions, or both so that the asset does not appear cropped or distorted when used in a sequence. Some assets contain metadata that allows Premiere Pro to make the calculations automatically and precisely. For assets lacking this metadata, Premiere Pro applies a set of rules to interpret pixel aspect ratio.
that was transferred from film or for customized projects. D1/DV NTSC 0.91 Footage has a 720x486 or 720x480 frame size, and the desired result is a 4:3 frame aspect ratio. This setting can also be appropriate for footage that was exported from an application that works with nonsquare pixels, such as a 3D animation application. D1/DV NTSC Widescreen 1.21 Footage has a 720x486 or 720x480 frame size, and the desired result is a 16:9 frame aspect ratio. D1/DV PAL 1.
Working with markers Markers Markers panel (CS6) Add markers in the Timeline (CS6) Add markers to clips (CS6) Find, move, and delete markers Display marker comments Sharing markers with After Effects, Encore, and Flash To the top Markers Markers indicate important points in time and help you position and arrange clips. You can use a marker to identify an important action or sound in a sequence or clip. Markers are for reference only and do not alter the video.
Markers on the Marker and Timeline panels A. Comment marker B. Flash cue point marker C. Encore chapter marker D. Web link marker E. Movie sequence F. Movie clip G. Markers on the Timeline To the top Markers panel (CS6) Use the Marker panel (Window > Markers) to see all the markers in an open clip or sequence. Details associated with clips such as color-coded tags, In points, Out points, and comments are displayed.
Comments Type a comment you want associated with the marker. Encore Chapter Marker Check this box if you want to make the marker an Encore chapter marker. Web Link Check this box if you want to associate the marker with a hyperlink. URL This field is enabled only when Web Link is checked. Enter the address of the web page you want to open. Note: When the movie is included in a web page and the marker is reached in the movie, the web page automatically opens.
Add an unnumbered sequence marker (CS5.5, and earlier) 1. In a Timeline panel, move the current-time indicator to the location where you want the marker. 2. Do one of the following: Click the Set Unnumbered Marker button in the Program Monitor button to open the Marker dialog box as you set it.) or a Timeline panel . (Double-click the Set Unnumbered Marker Select Marker > Set Sequence Marker > Unnumbered.
To move a sequence marker, drag the marker in a Timeline panel or the Program Monitor’s time ruler. Dragging a marker in the Source or Program Monitor’s time ruler moves the corresponding marker icon in a Timeline panel. Note: Sequence markers in a nested sequence appear as clip markers (with a slightly different color) in the parent sequence and in the Source Monitor. To adjust a nested marker, open the nested sequence in a Timeline panel, and then drag the marker. Delete a marker 1.
Sequence markers in clips exported from Premiere Pro appear as cue points in Adobe Flash projects if they contain text in their Chapter fields. The cue point data in the Chapter field of a sequence marker in Premiere Pro will be encoded as XML. For the XML protocol required, see Flash Help. Note: You must add text to a chapter marker in Adobe Premiere Pro for that chapter marker to appear as a cue point in Adobe Flash projects.
Monitoring assets 167
Using the Source Monitor and Program Monitor Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor Using the Source Monitor and Program Monitor time controls View safe zones in the monitors Choose fields in the Source and Program Monitors Choose a display mode To the top Source Monitor and Program Monitor overview The Source Monitor plays back individual clips.
The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain. Customizing the monitor panel button bar (CS6) By default, the most useful buttons are displayed along the bottom of the Source and Program Monitors. However, you can add more.
Change magnification The Source Monitor and Program Monitor scale video to fit into the available area. You can increase the magnification setting for each view to see the video in more detail. You can also descrease the magnification setting to see more of the pasteboard area around the image (to adjust motion effects more easily, for example). 1. Choose a magnification setting from the Select Zoom Level menu (to the right of the current time display) in the Source Monitor or Program Monitor.
You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab. Navigate clips in the Source menu in the Source Monitor To the top 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.
contract and expand the bar. You can also scroll the mouse wheel in the areas outside of the bars for the same expanding and contracting behavior. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale. When you drag bar, you are not moving the playhead, however, you can move the bar and then click in the time ruler to move the playhead to the same area as the bar. A zoom scroll bar is also available in the Timeline.
Composite Video Displays the normal video. Alpha Displays transparency as a grayscale image. 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.
Playing assets Play video in the Source Monitor and Program Monitor Continuous Playback (CS6) Play a sequence or clip with preroll and postroll pauses Jog or shuttle playback Move to a different frame in the Source Monitor and Program Monitor Using the J, K, and L keys to shuttle video Match a frame with its source To the top Play video in the Source Monitor and Program Monitor The Source Monitor and Program Monitor contain several controls that resemble the playback controls on a video deck.
not stop playback: Keyframing of effects Interface items Timeline items Metadata entry Audio parameters Titling Zooming in and out of the timeline Switching away from the application In this video by Todd Kopriva and video2brain, see how to quickly apply effects to adjustment layers and how to modify effect properties while a sequence continues to play. To the top Play a sequence or clip with preroll and postroll pauses You can preview a clip or sequence with preroll and postroll pauses. 1.
under 100 are interpreted as frames. In Premiere Pro CS5.5, and earlier, to jump to the previous edit point in a sequence’s targeted audio or video track, click the Go To Previous Edit Point button in the Program Monitor, or press Page Down with a Timeline panel or Program Monitor active.
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Using the Waveform monitors and vectorscope View a scope Vectorscope YC Waveform YCbCr Parade RGB Parade Premiere Pro has a vectorscope and waveform monitors (YC Waveform, YCbCr Parade, and RGB Parade) to help you output a video program that meets broadcast standards and also assist you in making adjustments based on aesthetic considerations, such as color corrections.
Vectorscope 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.
The Intensity control adjusts the brightness of the waveforms. It does not affect the video output signal. Note: Cb and Cr are the color difference channels in a digital video signal. Cb is blue minus luma and Cr is red minus luma. Y represents luma. YCbCr Parade scope A. Values B. Y (luminance) waveform C. Cb waveform D. Cr waveform E. Range of signal components To the top RGB Parade The RGB Parade scope displays waveforms representing the levels of the red, green, and blue channels in a clip.
Using the Reference Monitor Open a Reference Monitor Gang the Reference Monitor and Program Monitor The Reference Monitor acts like a secondary Program Monitor. You can use a Reference Monitor to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes. You can cue the frame of a sequence displayed in the Reference Monitor independently from the Program Monitor.
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Editing sequences and clips 183
Creating and changing sequences Timeline panels Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Change sequence preview resolution settings Create a widescreen sequence Create an HDV or HD sequence Create a sequence with uncompressed video playback Create a sequence for RED camera footage 24p sequences Start a mobile device sequence Using multiple sequences Nest sequences Attach closed caption files (CS5.
Timeline panel A. Sequence tabs B. Time ruler C. Video tracks D. Audio tracks A single Timeline panel appears in a frame in the lower central portion of the screen when you first launch Premiere Pro, open any of its default workspaces, or create a project. You can remove all sequences from a Timeline panel, or add multiple sequences to it, each appearing as a tab within that Timeline panel. You can also open multiple Timeline panels, each within its own frame, with each containing any number of sequences.
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. You can change the display between timecode and the simple frame count by Ctrl-clicking (Windows) or command-clicking (Mac OS) the current time in either a monitor or a Timeline panel. Viewing area bar (CS5.
slider to the left, or click the Zoom Out button . In Premiere Pro CS5.5, and earlier, to zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. In Premiere Pro CS6, use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. Press the Alt key (Windows) or Option key (Mac OS) and turn the mouse scroll wheel to zoom and out at the mouse pointer’s position.
3. Click OK. Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5.1. If you’re not sure what kind of audio your clips use, select the clip in the Project panel and read its information in the preview area. You can add a track as you add a clip to the sequence. See Add a track while adding a clip. Andrew Devis shows how to add and remove tracks in this video tutorial on the Creative Cow web site.
Click to hide the Eye icon (for video) or the Speaker icon (for audio) at the left edge of the track. (Each icon is a toggle switch. Click its box again to display the icon and include the track.) Note: To exclude all video or all audio tracks, Shift-click to hide the Eye icon (for video) or the Speaker icon (for audio). This excludes all tracks of the same type. (Each icon is a toggle switch. Shift-click its box again to display all the icons and include the tracks.
tracks. 2. When the height adjustment icon appears , drag up or down. To the top Create a sequence In many cases, you want to create a sequence that matches the characteristics of the primary assets (clips) that you’ll be editing. You can create a sequence that matches the characteristics of an asset by dragging the asset to the New Item button at the bottom of the Project panel. You can also create a sequence by using a sequence preset.
All sequence settings apply to the whole sequence, and most cannot be changed after a sequence is created. When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence settings preset. If you want full control over almost all the sequence parameters, start a new sequence and customize its settings.
example, if you are editing footage captured from film. You can display timecode in simple frame numbers if your assets came from an animation program. Changing the Display Format option does not alter the frame rate of clips or sequences—it changes only how their timecodes are displayed. The time display options correspond to standards for editing video and motion-picture film.
to which you can revert in case someone accidentally alters the current sequence settings. Tracks settings Controls the number of video tracks and the number and type of audio tracks for new sequences you create. Master Sets the default channel type for the Master track in new sequences to Mono, Stereo, 5.1 surround, or 16 Channel. Note: If you must change sequence settings that are unavailable, you can create a sequence with the settings you want. Then move the contents of the current sequence into it.
2. Select the desired settings on the General tab. For more information, see Sequence presets and settings. To the top Change sequence preview resolution settings You can choose the video preview format and resolution in the Sequence Settings dialog box. Choose a resolution lower than the sequence frame size to play back previews in real time that the computer cannot play back at full frame size.
rendering Premiere Pro will make use of the color information in 10-bit assets and will upsample other assets in a sequence to generate 10-bit preview files. Premiere Pro delivers the best preview performance when using these preview file formats on a system with a supported SD-SDI or HD-SDI card installed. Both these uncompressed formats do subsample video files at 4:2:2 YUV, but unlike the other file formats available for preview files, they do not then run the video data through a compressor.
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.
1. Right-click (Windows) or Control-click (Mac OS) a 24p clip in the Project panel. 2. Select Modify > Interpret Footage. 3. Under Frame Rate, select Remove 24p DV Pulldown. 4. Click OK. Additionally, you can apply any of a number of third-party film-look plug-in effects to the master sequence. These plug-ins can often perform telecine-style conversion, or add grain or color correction to simulate various film stocks.
You can select, move, trim, and apply effects to nested sequences as you would to any other clip. Any changes you make to the source sequence are reflected in any nested instances created from it. The ability to nest sequences enables you to employ a number of time-saving techniques and to create effects that otherwise would be difficult or impossible: Reuse sequences.
In Premiere Pro CS6 (Windows), the keyboard shortcut has been changed to Ctrl-Shift-F. The keyboard shortcut has not changed in Mac OS. 4. Double-click the clip where the playhead rests to open the clip in the Source Monitor. To the top Attach closed caption files (CS5.5 and later) You can attach a closed caption data file to a sequence and display the closed captions in the Program Monitor. The attachable file types are .mcc and .scc for HDTV (CEA-708) and SD (CEA-608) respectively.
Creating and playing clips Source clips, clip instances, subclips, and duplicate clips Duplicate a clip Creating subclips Play back a clip in the Project panel In Premiere Pro, you create clips by importing files, duplicating clips, or making subclips. You create a clip instance by using a clip in a sequence. Source clips, clip instances, subclips, and duplicate clips To the top 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.
Titles, still images, synthetic clips Sequence clips Grouped clips To use a master clip and its subclips in another project, import the project that contains the clips. In Premiere Pro CS5.5 and later, you can create a subclip from any merged clip in the same way you would any other subclip. The Master Clip Start timecode is the earliest timecode of the component clips. The Master Clip End timecode is the latest timecode of the component clips. The Convert to Master Clip check box is disabled.
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Adding clips to sequences Adding clips to a sequence Open a sequence Targeting tracks Drag video and audio to a sequence Drag video only or audio only to a sequence Add a track while adding a clip Insert a clip into a sequence Overwrite a clip into a sequence Insert or Overwrite by dragging a clip to the Program panel Make three-point and four-point edits Add clips to a sequence automatically Mixing clip types in a sequence Replace one clip with another in a Timeline Replace the source footage for a clip Se
Adding a clip by inserting it between clips If one or more tracks is locked, an insert edit shifts clips in all unlocked tracks. To prevent an insert edit from shifting clips in a track, lock the track. Alternatively, click the Sync Lock button in the header of every track you want to shift. To the top Open a sequence In a Project panel, double-click a sequence. The sequence opens in a Timeline panel. To the top Targeting tracks A sequence may contain several video and audio tracks.
Targeting a track while dragging a clip to a sequence When you add clips to a sequence by pasting, (or keyboard shortcuts), you must specify target tracks in advance. You can target more than one video track or more than one audio track at a time. Also, you can choose to target a video track only or an audio track only. Click the track or tracks you want to target in the track header area of a Timeline panel. The track header area for a targeted track appears highlighted.
Note: For information about creating tracks that are compatible with your assets, see Work with tracks and 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. 1. (Optional) Open a clip in the Source Monitor, and mark its In and Out points.
1. Double-click a clip in a Project panel or sequence to open it in the Source Monitor. 2. Place the playhead at the point in the sequence where you want to insert the clip. 3. In the Timeline panel, click the headers of the tracks where you want to insert the source clip’s components to target them. 4. Drag the source clip track indicators to the headers of the tracks where you want to insert the source clip’s components. 5.
frames in both the source clip and sequence are critical. If the marked source and sequence durations are different, Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it. 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.
example, if Video1 and Audio1 are locked, it will automate to Video 2 and Audio 2, or the lowest audio track with the correct channel type. Clip Overlap Specifies the duration of the transition and how much to adjust the clips’ In and Out points to compensate for it when Apply Default Audio Transition or Apply Default Video Transition is selected. For example, a value of 30 frames trims the clips’ In and Out points 15 frames at each edit, where a 30-frame transition is added.
Note: You cannot use the Edit > Undo command to undo a footage replacement. However, you can use the Clip > Replace Footage command again to relink a clip to its original source file. For more information about Replacing Source Footage, see this video from Learn By Video and Video2Brain by Maxim Jago. To the top Set or remove sequence In and Out points You can use In and Out points in a sequence to help you place and rearrange clips.
Working with offline clips Create an offline clip Edit an offline clip Relink an offline clip Convert an online clip to an offline clip An offline clip is either a clip that has been unlinked from its source file, or a logged clip that you still have to capture. Offline clips contain information about the source files they represent, and they give you flexibility when actual files are not available.
Note: You cannot edit ‘contains’ or ‘audio format’ for an offline clip if it is located in the timeline. To the top 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. It is possible, for example, to edit an online clip in a sequence, make its source offline, and link the offline clip to another source file.
Trimming clips (CS6) Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline trimming (CS6) Making ripple and rolling edits in the Timeline Make slip and slide edits Work in trim mode (CS6) Work in the Trim Monitor Trim with Speech Analysis To the top Working with In and Out points Setting a clip’s In and Out points is a process called marking.
You can zoom into an audio waveform in the Source Monitor to better identify locations for markers, In points, or Out points. 1. Double-click an audio clip in the Project panel to open it in the Source Monitor. 2. To zoom in horizontally, drag either end of the zoom scrolling bar that runs below the time bar in the Source Monitor. The waveform of all channels, and the time bar, will expand or contract horizontally. 3.
Dragging the In/Out Grip for a video clip or track For an audio clip, you can also drag the In/Out Grip, or the grey area between the In point and Out point above the waveform to the left or right. Dragging the audio In/Out Grip for an audio clip or track The In and Out points move together, keeping the duration between them constant. This technique also works with sequence In and Out points using the Program Monitor or a Timeline panel.
Timeline trimming has been enhanced in Premiere Pro CS6 with the ability to select edit points and adjust them using the mouse, keyboard shortcuts, or the numeric keypad. Regular, ripple, and rolling trim functions have been enhanced as part of the improved Timeline trimming feature in Premiere Pro CS6. Though these trim functions have improved, they still react the way trims did in Premiere Pro CS5.5, and earlier. For example, rolling trims still affect both sides of the edit point.
You can allow the Selection tool to select an edit point as a Ripple or Roll trim without the modifier key. Choose this option in Edit > Preferences > Trim (Windows), or Premiere Pro > Preferences > Trim (Mac OS). Using modifier keys with trim tools Use the Alt (Windows) or Option (Mac OS) modifier key to override normal linked only select the edit point that is clicked. This technique is useful for setting up a split edit (L or J-cut).
Select Nearest Edit Point as Trim Out Select Nearest Edit Point as Rolling If the playhead is not already at an edit point, it is moved to the nearest edit point either forward or backward. Then the edit points at the playhead on all targeted tracks are added to the current edit point selection, using the type of trim for 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.
Ripple Trim Previous Edit to Playhead and Ripple Trim Next Edit to Playhead Ripple trims the previous or next edit point to the Playhead. You do not need to select an edit point to perform a ripple trim to playhead edit. Like the Extract command, a ripple trim to playhead edit does not affect clips on other tracks that are locked or not sync-locked, but all other tracks will have the region ripple-deleted. Sequence In and Out points are not affected.
You can perform a ripple or rolling edit either directly on the tracks in the Timeline. About ripple and rolling edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as ripple edits and rolling edits. By using specialized tools, make adjustments in a single action that would otherwise require multiple steps to accomplish. When you perform ripple and rolling edits with trim tools, the affected frames appear in the Program Monitor side by side.
Make a rolling (extend) edit to the playhead Do the following: 1. Click a track header to target the track containing the clip you want to trim. 2. Drag the playhead to the location in the sequence to which you want to extend the clip In point or Out point. 3. Click the Rolling Edit tool, and then select the edit point. 4. Choose Sequence > Extend Selected Edit to Playhead, or press E.
In this slip edit, a clip is dragged left, moving its source In and Out points later in time. 1. Select the Slip tool . 2. Position the pointer on the clip you want to adjust, and drag left to move the In and Out points later in the clip, or drag right to move the In and Out points earlier in the clip. Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration.
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). Press Option+Shift+. (Mac OS). To slide clip selection right one frame: Press Alt+. (Windows) Press Option+. (Mac OS). For more information about sliding clips with keyboard shortcuts, see this video by Todd Kopriva and video2brain.
video view. The trim buttons and shift counters are placed directly below the video. All of the sequence's video tracks are composited together and the audio heard during playback is all of the sequence's audio tracks mixed together. The playhead loops in the Timeline during playback so that you can see the range of time that is being played. A. Outgoing edit point B. Outshift counter C. Trim backward many D. Trim backward E. Add default transition F. Trim forward G. Trim forward many H. Inshift counter I.
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.
The History panel shows each trim adjustment as an individual entry, whether using the keyboard, clicking one of the buttons or using J-K-L shortcuts. Entering or exiting trim mode does not change the entries in the History panel, so you can still undo one or more of the trim adjustments that were made during any trim mode session.
Work in the Trim Monitor The Trim Monitor displays clip In and Out points at a cut so that you can see precisely which frames you are cutting. The left monitor shows the outgoing clip to the left of the edit point, and the right monitor shows the incoming clip to the right of it. Open or close the Trim Monitor To open the Trim Monitor, select Window > Trim Monitor. To open the Trim Monitor, press the T key.
2. Click in the Sync Lock box in the header of any track you want to shift when the ripple edit is made. 3. In a Timeline, place the playhead at the edit point. This will display the edit point in the Trim Monitor. 4. Do any of the following: Position the pointer in the left or right image so that it becomes the Trim-out icon to ripple-edit the corresponding clip. or Trim-in icon respectively, and drag left or right Drag the timecode display under the left or right image to trim the corresponding clip.
Trimming clips (CS5 and CS5.5) Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline Trimming (CS5.5, and earlier) Making ripple and rolling edits Make slip and slide edits Making split edits Work in the Trim Monitor Trim with Speech Analysis To the top Working with In and Out points Setting a clip’s In and Out points is a process called marking.
Source Monitor. To zoom in on all channels simultaneously, Shift-drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor. The waveform of one or all channels, and the decibel ruler, will expand or contract vertically. Return to default vertical zoom level Double-click the vertical zoom bar. Return to previous vertical zoom level After returning to the default zoom level, double-click the vertical zoom bar.
Dragging the audio In/Out Grip for an audio clip or track The In and Out points move together, keeping the duration between them constant. This technique also works with sequence In and Out points using the Program Monitor or a Timeline panel. Adjusting edit points in the Source Monitor Sometimes, adjusting In and Out points after a clip is in the Timeline is necessary.
Click the selection tool and do one of the following: To edit the In point, drag the left edge of the clip once the Trim-in icon appears. To edit the Out point, drag the right edge of the clip once the Trim-out icon appears. Trimming a clip Trimming in this way affects only a single clip's edit point and doesn’t affect adjacent clips. As you trim with the Selection tool, a gap in the Timeline is left behind.
You can perform a ripple or rolling edit either directly on the tracks in the Timeline or using the Trim Monitor. About ripple and rolling edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as ripple edits and rolling edits. By using specialized tools, make adjustments in a single action that would otherwise require multiple steps to accomplish.
Timeline panel during (above) and after (below) a roll edit Make rolling edits (extend edits) with the playhead You can move the In point or Out point of a clip in a sequence to the playhead, without leaving gaps in the sequence. This type of editing is sometimes called extending an edit, or using extend edit commands. Setting up an extend edit In Premiere Pro CS5, you first assign keyboard shortcuts in the Keyboard Customization dialog box.
Timeline panel during (above) and after (below) a ripple edit When using the Selection tool, you can toggle from the Trim-in or Trim-out icon to a Ripple edit icon by pressing the Ctrl (Windows) or Command (Mac OS) key. Release Ctrl (Windows) or Command (Mac OS) to revert to the Selection tool. To the top Make slip and slide edits Just as ripple and rolling edits allow you to adjust a cut between two clips, slip and slide edits are useful when you want to adjust two cuts in a sequence of three clips.
Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration. Make a slide edit A slide edit shifts a clip in time while trimming adjacent clips to compensate for the move. As you drag a clip left or right with the Slide tool, the Out point of the preceding clip and the In point of the following clip are trimmed by the number of frames you move the clip.
Preview the edit in the Trim Monitor To preview the edit once, click the Play Edit button To preview the edit repeatedly, click the Loop button . . Cancel an edit Press Ctrl+Z (Windows) or Command+Z (Mac OS), or use the History palette. Set trim preferences You can set the number of frames that are trimmed when you use the Multiple-Frame Trim-in button or the Multiple-Frame Trim-out button . Choose Edit > Preferences > Trim (Windows) or Premiere Pro > Preferences > Trim (Mac OS).
To the top Trim with Speech Analysis You can add In and Out points to speech analysis text to select a portion of a master clip. You can insert or overwrite the selected portion directly from the Speech Analysis section of the Metadata panel. 1. In the Speech Analysis section of the Metadata panel, select a word. 2. Do one of the following: To set the word as an In point, click Mark In. To set the word as an Out point, click Mark Out.
Editing multi-camera sequences (CS5 and CS5.
you click a camera preview to make it active and record footage from that camera. The active camera is indicated by a yellow border when in playback mode and a red border when recording. The Multi-Camera Monitor includes the standard playback and transport controls and keyboard shortcuts. The Play Around button around the edit point in the preview display, including any preroll and postroll frames specified in General Preferences.
3. Select the video and audio tracks in the nested sequence, and then choose Clip > Multi-Camera > Enable. The command is unavailable unless you have the video track selected. 4. In the Multi-Camera Monitor, click the downward-pointing triangle next to Video 1 to open the Select Video Track menu. Select the video track containing the multi-camera nested sequence. Then click the downward-pointing arrow next to Audio 1 to open the Select Audio Track menu.
clicking the camera’s preview in the Multi-Camera Monitor. Note: No recording occurs until you switch the active camera. 3. When you are done editing, click the Stop Playback button in the Multi-Camera Monitor. To the top Adjust multi-camera edits in a Timeline panel Do any of the following in the multi-camera target sequence: To replace a clip with footage from another camera, select a clip in a Timeline panel and choose Clip > Multi-Camera > Camera [1,2,3,4].
Editing multi-camera sequences (CS6) About multi-camera editing Mark Clips for Synchronization Create a multi-camera source sequence Enabling audio in the multi-camera source sequence Mapping mono track audio in a multi-camera source sequence Create a multi-camera target sequence About the Multi-Camera Monitor Display the Multi-Camera Monitor Record multi-camera edits Play nested multi-camera clips in the Program Monitor Play clips in the Multi-Camera Monitor Change a camera angle Cut to a camera angle Rere
camera flash, or other technique, at the same time. Keep each camera recording to maintain synchronization. After you capture, or ingest footage in Premiere Pro, use the following workflow to edit the footage: 1. Mark clips for synchronization. Mark the sync point with In Points, Out Points, clip markers, or reassign the sync point for each camera to a specific timecode. (See Mark clips for synchronization.).
To the top Create a multi-camera source sequence After the clips are marked, select them in the Project panel and use the Create Multi-Camera Source Sequence menu command to create a new multi-camera source sequence. A dialog box allows you to synchronize clips and creates the multi-camera source sequence. To create a multicamera source sequence, do the following: 1. Choose Clip > Create Multi-Camera Source Sequence. 2.
be enabled. To enable audio, do the following: a. Unlink audio from video by selecting the clips and then choosing Clip > Unlink. You can also Alt-click (Win) or Option-click (Mac OS) the audio portion of the clip. b. Right-click (Win) or Ctrl-click (Mac OS) on the audio portion of the clip, and then choose > Multi-Camera > Enable. The multi-camera target sequence is now enabled correctly, and can be edited in the Multi-Camera Monitor. See Record multi-camera edits.
7. When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it. The target sequence is updated to show the edit points where each camera switch occurs. Camera 1 is the default track in the target sequence. No recording occurs, so no edit points are created until you switch cameras. Each clip in the target sequence is labeled with the camera number (MC1, MC2).
Adjust multi-camera edits in the Timeline Do either of the following: To change the camera in a multi-camera target sequence, select a clip in the Timeline and choose Clip > Multi-Camera > Camera [1,2,3,4]. To change an angle or cut to a new angle using other methods, the Multi-Camera Monitor is needed. See Change a camera angle, and Cut to a camera angle. Use any of the standard editing tools to make changes in a Timeline panel. For example, a roll trim could be used to adjust the edit points.
Synchronizing audio and video with Merge Clips (CS5.5 and later) Merge clips in the Project panel Merge clips in the Timeline panel Synchronize clips in the Timeline panel Editing with merged clips Use timecode from an audio master clip to create a merged clip (CS6) Merged Clips limitations Premiere Pro CS5.5 and later features a new method for synchronizing audio and video called Merge Clips.
Drag the component clips into the Project panel. Choose Clip > Merge Clips. The Merge Clips dialog launches. Click OK. Your merged clip will now appear in the Project panel. Note: Clips that are merged in the Timeline are synchronized from Clip Start for each component clip. To merge clips based on Clip End, Timecode, or Numbered Marker, use the synchronize function prior to merging the clips.
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. Any data entered into a property will be entered into the XMP for each of the component files that make up the merged clip. Note: The All Files display acts like a multiple clip selection, where is displayed when the property values don’t match across the selection.
Modifying clip properties with Interpret Footage Interpret footage You can modify the properties of a clip by selecting options in the Interpret Footage dialog box. For more information about using the Frame Rate options, see Change the frame rate of a clip. For more information about using the Field Order options, see Change the field order of a clip. For more information about using the Alpha Channel options, see Alpha channels and mattes. To the top Interpret footage 1.
Creating special clips (synthetics) Create Create Create Create Create Create a counting leader (Windows only) color bars and a 1-kHz tone HD color bars and a 1-kHz tone (CS6) black video a color matte a transparent video clip To the top Create a counting leader (Windows only) If you plan to create film output from a sequence, you may want to add a counting leader. A counting leader helps a projectionist verify that audio and video are working properly and are synchronized.
For HD bars and tone, do the following: 1. Choose File > New > HD Bars and Tone. 2. A dialog launches with settings based on the existing sequence. Change settings, or click OK to accept the settings. In this video by Todd Kopriva and video2brain, you'll learn about the new HD color bars and tone, which comply with ARIB STD-B28, and how you can use them in a sequence for output calibration.
Correcting mistakes Correct mistakes History panel To the top Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window. Do one of the following: To undo the most recent change, choose Edit > Undo. (You can sequentially undo as many as 32 recent changes made to the project in any Premiere Pro panel.
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Rearranging clips in a sequence Move clips Split or cut one or more clips with the Razor tool Remove clips from a sequence Lift and paste frames Extract and paste frames Delete clips and close gaps simultaneously Delete gaps between clips Find gaps in sequences and tracks Copy and paste at the playhead Copy and paste clips by dragging in the Timeline (CS6) Delete all clips on one track To the top Move clips You can place clips in playback order to create a sequence in a Timeline panel.
1. Select the clip in the sequence. 2. Using your numeric keypad with Num Lock on, type + (plus) and the number of frames that you want to move the clip to the right, or type (minus) and the number of frames you want to move the clip to the left. Then, press Enter (Windows) or Return (Mac OS). If any gaps exist between clips, those gaps are filled first. Then, the selected clip overwrites adjacent clips by the remaining number of frames.
sequence In Point and Out point. If only part of a clip appears between the sequence In point and Out point, Premiere Pro will extract only that part of the clip from the sequence, letting the rest of the clip remain. After extracting, you can paste the extracted frames anywhere in a sequence. 1. Use the controls in the Program Monitor to specify sequence In and Out points. 2. In the Timeline, click the headers of the tracks from which you want to extract frames to target them. 3.
4. Do one of the following: To overwrite the pasted clips, choose Edit > Paste. To insert the pasted clips, choose Edit > Paste Insert. The clip or clips are pasted into the sequence, and the playhead jumps to the end of the pasted clip or clips. Copy and paste clips by dragging in the Timeline (CS6) To the top In Premiere Pro CS6, you can copy and paste clips by dragging them and holding down a modifier key to a different place in the Timeline.
Remove alerts with the Events panel Premiere Pro Events lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug-ins and other components from third-party developers. An alert icon , , on the status bar notifies you of an error. Double-clicking the icon opens the Events panel, and clearing the associated item from the Events panel removes the icon from the status bar. 1.
Rendering and previewing sequences Define the work area for rendering Define the area for rendering using In and Out points (CS6) Render a preview file for a section of a sequence (CS5.
Dragging the work area markers to expand the work area Position the playhead, and press Alt+[ (Windows) or Option+[ (Mac OS) to set the beginning of the work area. Position the playhead, and press Alt+] (Windows) or Option+] (Mac OS) to set the end of the work area. Double-click the work area bar to resize it to either the width of the time ruler, or the length of the entire sequence, whichever is shorter.
Render a preview file for a section of a sequence setting In and Out points: 1. Set In and Out points to mark the area you want to preview. 2. Choose Sequence, and select one of the following: Render Effects In to Out Renders the sections of the video tracks lying within the In and Out points containing a red render bar. Alternatively, press Enter. 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.
You can set an option to automatically scroll a sequence when it is wider than the visible area in its Timeline panel. 1. Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS). Type the desired lengths in the Preroll and Postroll fields. 2. Choose an option from the Timeline Playback Auto-Scrolling menu: No Scroll Sequence doesn’t scroll. Page Scroll Sequence scrolls through the visible area of a Timeline panel a page at a time. This is the option set by default.
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Working with clips in a sequence Find a clip in any sequence with Clip Usage View the source of a sequence clip in the Project panel Analyze speech for text XMP metadata Select one or more clips Enable or disable a clip Group clips Snap clips To the top Find a clip in any sequence with Clip Usage Note: You can also see the number of times a clip has been used by making the Video Usage column visible in the Project panel. For more information, see Add a column .
speech to text metadata and create a simple video player with which you can navigate to the places where words are spoken. Adobe provides another white paper and demonstration on the Adobe website that shows an alternative method involving Soundbooth to accomplish a similar result. For more information, see the video tutorial Using Speech Search to Speed Editing.
Speech Analysis supports reference scripts only in the UTF-8 encoded text format, including Adobe Story scripts, which have the .astx filename extension. The closeness of the match between the embedded script text and the recorded dialog determines the accuracy of matched-script text. If 100% accuracy is important, edit and revise the script text first. Ensure that the script matches the recorded dialog before using it as a reference script.
Selecting a range of clips by dragging a marquee To select all clips that exist on and after a certain time on one track, select the Track Select tool time span you want to select. Shift-click with the tool to select clips in all tracks. and click the clip at the beginning of the Selecting clips with the Track Select tool To select clips in a track independently of its linked video or audio, Alt-click (Windows) or Option-click (Mac OS) using the Track Select tool .
2. Drag the edge of a clip close to the edge of another clip or a marker or the playhead. A vertical line appears when alignment occurs. You can toggle the snap feature using a keyboard shortcut (S) even during an editing operation, such as moving or trimming a clip.
Editing audio 272
Overview of audio and the Audio Mixer Audio tracks in a sequence (CS6) Channels in audio clips Mixing audio tracks and clips Processing order for audio Making quick audio adjustments View audio data Audio Mixer overview In Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.1 surround channels. In Premiere Pro CS5.
exceeds the available tracks in a sequence. It is also useful when the number of channels in an audio clip doesn’t match the number of channels in the default audio tracks. You can also add tracks by right-clicking a track header and choosing Add Tracks, or by choosing Sequence > Add Tracks. In CS5.
When making audio adjustments of any kind, determine whether the change is applied to the entire track or to individual clips. Audio tracks and clips are edited in different ways. Use the Show/Hide Tracks command in the Audio Mixer menu to display only the information you want to see and save screen space. If you aren’t using Effects and Sends, you can hide them by clicking the triangle at the left edge of the Audio Mixer.
Audio Mixer A. Pan/balance control B. Automation mode C. Mute Track/Solo Track/Enable Track For Recording buttons D. VU meters and faders E. Track name F. Clipping indicator G. Master VU meter and fader By default, the Audio Mixer displays all audio tracks and the master fader, and the VU meters monitor output signal levels. The Audio Mixer represents the tracks in the active sequence only, not all project-wide tracks.
Audio Mixer A. Show/Hide Effects and Sends B. Effects C. Sends D. Track Output Assignment E. Automation Mode Modify the Audio Mixer 1. Choose any of the following from the Audio 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.
Audio Meter panel A. LED Meter (gradients in the meter panel) B. Solo channels C. Clipping indicator D. Peak indicator E. Valley indicator 2. Right-click the panel and use the options to do the following: View peaks as static peaks or dynamic peaks. 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.
Work with submixes Work with tracks Record audio from a microphone or another analog source Routing audio to buses, sends, and the Master track Adjusting gain and volume Mix tracks in the Audio Mixer Timeline panels Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Working with clips, channels, and tracks Mapping source and output audio channels Audio channel icons Extract audio from clips Render and replace audio Break a stereo track into mono tracks Use a mono clip as stereo Placing sound from one channel of a stereo clip into both channels Linking multiple audio clips Link audio clips Edit a multi-clip link in the Source Monitor To the top Mapping source and output audio channels Mapping the audio channels in clips determines the type and number of audio tracks
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. You can export to four channels, for example, if you want to transfer your final output file back to P2 media. Map the channels in your P2 clips before placing them into a sequence, and before using the File > Export To Panasonic P2 command.
Right front channel Left surround channel Right surround channel Center front channel Low frequency effects channel To the top 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.
Note: You can apply the Modify Clip command to a mono clip only in the Project panel, before the clip appears in a Timeline panel. You can’t convert a clip instance to stereo when it’s used in a mono audio track.
The audio clips must have the same channel type and each clip must be on a different track. If clips are already linked, such as an audio clip linked to a video clip, they must be unlinked before you can create a multi-clip link. 1. If necessary, select each linked video and audio clip, and choose Clip > Unlink. In Adobe Premiere Pro CS5.5 and later, you may select multiple clips, and choose Clip > Unlink. 2.
Editing audio in a Timeline panel Set sample-based audio In and Out points Link and unlink video and audio clips Create split edits To the top Set sample-based audio In and Out points In and Out points are set at time-base divisions—that is, between video frames. Although frame-based edits are usually adequate for audio as well, some audio edits require greater precision.
right. To adjust the Out point, position the pointer over the right edge of the clip’s audio so that the trim tail icon right. appears, and drag left or 5. Use the waveform display or play the audio to make sure that you adjusted the In and Out points properly. To the top Link and unlink video and audio clips In the Project panel, clips that contain both video and audio appear as a single item, represented by .
A. Clip trimmed for J-cut B. Clip trimmed for L-cut 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.
Recording audio Capturing analog audio Set the location for captured audio Preparing the audio input channel for recording Record audio from a microphone or another analog source Mute input during recording You can record to an audio track in a new sequence or record to a new audio track in an existing sequence. The recording is saved as an audio clip that’s added to your project. Before recording audio, make sure that your computer has sound inputs.
the Audio Mixer for each track you add to a Timeline. 5. In the Audio Mixer, click the Enable Track For Recording icon for the track you added for your audio device. In Premiere Pro CS6, the Enable Track For Recording icon has been replaced with an “R” icon. 6. Choose the recording input channel from the Track Input Channel menu. Note: The Track Input Channel menu appears after you click the Enable Track For Recording icon. 7. Repeat steps 3 and 4 as necessary if you’re recording to multiple tracks. 8.
More Help topics Troubleshoot analog capture problems in Premiere Pro Premiere Pro Wikia: Setting up a USB microphone for use with Premiere Pro on Windows XP Legal Notices | Online Privacy Policy 290
Adjusting volume levels Monitor volume level from Timeline, or Program Monitor Monitor volume level while capturing Specify whether to play audio while scrubbing Adjusting gain and volume Normalize one or more clips Normalize the Master track Adjust track volume with keyframes Apply a volume level to several clips Adjust volume in Effect Controls Set track volume in the Audio Mixer Mute a track in the Audio Mixer Mix tracks in the Audio Mixer Monitor volume level from Timeline, or Program Monitor To the t
to adjust the volume that you use to set other effect options. It’s often simpler to adjust the Volume effect in a Timeline panel. You control track output levels in the Audio Mixer or a Timeline panel. Although you control track levels primarily through the Audio Mixer, you can also do so using audio track keyframes in a Timeline panel. Because track keyframes represent mixer automation settings, they affect output only if automation is set to Read, Touch, or Latch.
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. 3. If one of the Keyframes settings is selected, do one of the following: If Show Clip Keyframes is selected, choose Volume > Level from the drop-down menu at the head of the clip in the audio track.
1. Select a sequence that contains audio in two or more audio tracks. 2. Select Window > Workspace > Audio. The Audio Mixer panel appears in the central drop zone, with each audio track of a Timeline panel assigned to its own bus on the mixer. 3. Choose Latch, Touch, or Write for all the tracks in the Audio Mixer you wish to modify. 4. In a Timeline panel, for each audio track, click the Show Keyframes button from the drop-down menu. 5.
Recording audio mixes Record changes to sound tracks Preserve a track property while recording an audio mix Audio Mixer automation modes Set Automatch Time for Touch mode and Read mode Specify automated keyframe creation Using the Audio Mixer, you can apply changes to audio tracks as a sequence plays back. You can instantly hear the results of any changes you make. You can control the volume, pan, and mute settings of a track or its sends.
you replay the audio with the track’s automation menu set to Read, Touch, or Latch, Premiere Pro plays back the track with the adjustments you made. As you make adjustments in channels of the Audio Mixer, Premiere Pro applies the changes to their respective tracks by creating track keyframes in a Timeline panel. Conversely, audio track keyframes you add or edit in a Timeline panel set values (such as fader positions) in the Audio Mixer.
Advanced mixing Work with submixes Route tracks with sends Downmixing to fewer channels Change 5.1 audio to stereo or mono Routing track output Route or turn off track output To the top Work with submixes A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence. A submix is an intermediate step between audio tracks and the master track. Submixes are useful if you want to work with a number of audio tracks in the same way.
submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix. A send includes a level knob that controls the ratio of the send track volume to the submix volume. This value is called the wet/dry ratio, with “wet” referring to the effects-processed submix signal and “dry” referring to the signal from the send track. A wet/dry ratio of 100% indicates that the wet signal is output at full strength.
Choosing from Selected Parameter menu 4. Change the value of the property using the control knob above the Send Assignment Properties menu at the bottom of the sends list. Work with sends 1. (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Mixer. 2.
To the top Route or turn off track output Do any of the following: To route track output to another track, select a submix or Master from the Track Output Assignment menu at the bottom of each track in the Audio Mixer. To completely turn off track output, click the Toggle Track Output icon to hide the speaker icon for a track in a Timeline panel. This setting causes the track to output no signal but doesn’t change its signal routing.
Editing audio in Adobe Audition (CS5.5, and later) Working with Adobe Audition Adobe Audition lets you use advanced post-production techniques to create and edit audio. If you have installed Adobe Audition, you can apply the Edit In Adobe Audition command to an audio clip. When you apply the Edit In Audition command to an audio clip, the audio is extracted and the edits are made to a new clip containing the extracted audio. The audio in the original master video clip is preserved.
Editing audio in Adobe Soundbooth (CS5) Edit audio in Adobe Soundbooth Undoing edits made in Adobe Soundbooth Adobe Soundbooth lets you use advanced techniques to edit audio. If you have installed Adobe Soundbooth, you can apply the Edit In Adobe Soundbooth command to an audio clip. Note: Adobe Soundbooth is to be used with Premiere Pro CS5 and earlier. To edit audio in Premiere Pro CS5.5 and later, use Adobe Audition.
Panning and balancing Panning and balancing in the Audio Mixer Pan or balance a stereo track Pan or balance a 5.1 surround track Pan or balance a 16-channel track Pan or balance a track in a Timeline panel By default, all audio tracks output to the sequence master audio track. However, you can also create submix tracks. You can output audio from any track to a submix track. You can then out put audio from a submix track to a Master Track.
Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C. Center percentage For best results monitoring pan or balance settings, make sure that each of the computer or audio card’s outputs is connected to the correct speaker, and make sure that positive and negative wires are connected consistently across all speakers. To the top Pan or balance a stereo track In the Audio Mixer, do one of the following: Drag the pan control knob or the value below the knob.
Selecting channel 12 for the output from the left-front channel of a 5.1 audio track A. Direct Output Assignment buttons for a stereo track B. Direct Output Assignment buttons for a monaural track C. Direct Output Assignment buttons for a 5.1 surround track 1. If the Audio Mixer is not open, select Window > Audio Mixer, and select the desired 16-channel sequence. Direct Output Assignment buttons show to which Master track channel Premiere Pro automatically assigned the channels of the initial tracks.
Titling and the Titler 306
Creating and editing titles Create new titles Open, import, or export a title About safe margins in the Titler Choose, create, and import title templates Show video behind the title The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well. The Titler is a collection of related panels. You can close the panels within the Titler without closing the Titler. You can dock the panels to each other or to other parts of the interface.
Note: Titles open in the Titler, not the Source Monitor. Import a title file You can import a title file as you would any other source file. 1. Choose File > Import. 2. Select a title and click Open. Note: In addition to importing Premiere Pro titles and Premiere Elements titles with the .prtl extension, you can import titles with the .ptl extension, created in earlier versions of Adobe Premiere. The imported titles become part of the current project file.
To restore the default set of templates, choose Restore Default Templates from the Templates panel menu. 2. Click OK. Rename or delete a template With a title open, click the Templates button and select a template. To rename the selected template, choose Rename Template from the Templates panel menu. Type a name in the Name box, and click OK. To delete a template, choose Delete Template from the Templates menu, and then click OK.
Creating and formatting text in titles Enter text in titles Format text in titles Work with paragraph text Create tab stops in titles To the top Enter text in titles When adding text to a title, you can use any font on your system, including Type 1 (PostScript), OpenType, and TrueType fonts. 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.
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. When you type, the text begins along the top or right edge of the path. If necessary, adjust the path by dragging the object anchor points. Note: Resizing the text box created in this mode resizes only the visible area; the text remains the same size. 6.
Font Size Specifies the font’s size, in scan lines. Aspect Specifies the horizontal scale of the selected font. This value is some percentage of the font’s natural aspect ratio. Values less than 100% narrow the text. Values above 100% widen the text. Leading Specifies the amount of space between lines of type. For roman type, leading is measured from the baseline of one line of type to the baseline of the next line.
To create a tab stop with center-justified text, click the Center tab marker . To create a tab stop with right-justified text, click the Right Justify tab marker . 5. Click OK to close the Tab Stops dialog box. The selected text box contains the tab stops you specified. 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.
Drawing shapes in titles Create shapes Change the shape of a graphic object or a logo Draw straight segments with Pen Tool Draw curves with Pen Tool Adjust object anchor points and curves To the top Create shapes You can use the drawing tools in the Titler to create various shapes, such as rectangles, ellipses, and lines. The Titler includes standard pen tools that resemble pen tools used in Illustrator and Photoshop.
2. Position the tip of the pen point where you want the straight segment to begin, and click to define the first object anchor point. The object anchor point remains selected (solid) until you add the next point. Note: The first segment you draw is not visible until you click a second object anchor point. 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.
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. To the top Adjust object anchor points and curves The Titler includes tools for modifying existing paths. You can add or delete object anchor points on a path.
Join Type Specifies how the ends of adjoining path segments are joined. The Miter option joins path segments using pointed corners. The Round option joins path segments using rounded corners. The Bevel option joins path segments using squared corners. Miter Limit Specifies the point at which the join type switches from mitered (pointed) to bevel (square). The default miter limit is 4. At the default, the join type switches from miter to bevel when the length of the point is four times the stroke weight.
Add images to titles Place a logo in a title Place a logo in a text box Return a logo to its original size or aspect ratio Use the Titler to place images in a title, such as adding a logo graphic. You can either add the image as a graphic element or place it in a text box to become part of the text. The Titler accepts both bitmap images and vector-based artwork (such as art created with Adobe Illustrator). However, Premiere Pro rasterizes vector-based art, converting it to a bitmap version in the Titler.
Working with text and objects in titles Change the stacking order of objects in titles Align and distribute objects in titles Transform objects in titles To the top Change the stacking order of objects in titles An object is any shape or text box you create in the Titler. When you create objects that overlap each other, you can control their stacking order in the Titler. 1. Select the object you want to move. 2.
Distribute objects in titles A distribution option evenly spaces selected objects between the two most extreme objects. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects. When you distribute objects of different sizes, the spaces between objects vary.
Enter a value for Rotation in the Title Properties panel, or expand the Rotation category heading and drag the angle control. 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.
Fills, strokes, and shadows in titles Set a fill for text and objects Fill type options Add a sheen Add a texture for text or object Add a stroke to text or object Change the listing order of strokes Delete strokes from an object or text Create a drop shadow To the top 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.
2. Select Sheen in the Title Properties panel. 3. Click the triangle next to Sheen and set its options. Note: If the object’s texture obscures the sheen, deselect the Texture option in the Title Properties panel. To the top Add a texture for text or object You can map a texture to any object’s fill or stroke. To add a texture, specify a vector or bitmap file (for example, an Adobe Photoshop file), or use one of several textures included with Premiere Pro. 1. Select the object. 2.
2. In the Properties section of the Title Properties panel, expand the Strokes category. 3. Click Add next to either Inner Stroke or Outer Stroke. 4. Set any of the following options: Type Specifies the type of stroke you apply. Depth creates a stroke that makes the object appear to extrude. Edge creates a stroke that encompasses the entire inner or outer edge of the object. Drop Face creates a copy of the object, which you can later offset and apply values to.
Rolling and crawling titles Create a rolling or crawling title Roll/Crawl Timing options Convert a title to another type Though static titles, graphics, and logos suffice for some projects, many others require titles that move across the screen. (Titles that move vertically over the footage are called rolls. Titles that move horizontally are called crawls.) Note: The length of the title clip in a Timeline panel determines the speed of the roll or crawl.
Titler text styles Modify the style swatch display Change the default characters in swatches Create a style Apply a style to an object Specify the characters in the Title Styles panel Delete, duplicate, or rename, a style Manage style libraries You can save a combination of color properties and font characteristics as a style, for later use. You can save any number of styles. Thumbnails of all saved styles appear in the Title Styles panel, so you can quickly apply your custom styles across projects.
1. Select the object to which you want to apply the style. 2. In the Title Styles panel, click the style swatch that you want to apply. To prevent the font type in the style from being applied to the font in your title, Alt-click (Windows) or Option-click (Mac OS) the style swatch. To the top Specify the characters in the Title Styles panel You can specify the characters that are shown in the Title Styles panel. 1.
Effects and transitions 328
About effects Fixed effects Standard effects Clip-based and track-based effects Effect plug-ins GPU-accelerated effects High-bit-depth effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects.
Audio effects can be applied to either clips or to tracks. To apply track-based effects, use the Audio Mixer. If you add keyframes to the effect, you can then adjust the effect either in the Audio Mixer or a Timeline panel. To the top Effect plug-ins In addition to the dozens of effects included with Premiere Pro, many effects are available in the form of plug-ins. You can purchase plug-ins from Adobe or third-party vendors, or acquire from other compatible applications.
1. Choose Project > Project Settings > General. 2. In the Video Rendering And Playback section, select the appropriate renderer: Mercury Playback Engine GPU Acceleration or Mercury Playback Engine Software Only. List of GPU accelerated effects in Premiere Pro CS5 Here is a list of the effects and transitions that can be accelerated by CUDA in Adobe Premiere Pro CS5, Adobe Premiere Pro CS5 (5.0.3) and Adobe Premiere Pro CS5.5 and later.
Here is a list of the additional effects and transitions that can be accelerated by CUDA in Adobe Premiere Pro CS5.5 and later. Directional Blur Fast Blur Invert Additive Dissolve Film Dissolve Adobe recommends Have a tutorial you would like to share? The New Film Dissolve Effect Todd Kopriva Important information about the new Film Dissolve transition is included in this video by Video2Brain.
Applying, removing, finding, and organizing effects Find and group effects Apply effects to clips Copy and paste clip effects Remove selected effects from a clip Remove all effects from a clip Disable or enable effects in a clip To the top Find and group effects Standard effects are listed in the Effects panel and are organized into two main bins, Video Effects and Audio Effects. Within each bin, Premiere Pro lists effects by type in nested bins.
You can apply one or more Standard effects to a clip by dragging effect icons from the Effects panel to a clip in a Timeline panel. Alternatively, select the clip and drag the effect icon to the Effect Controls panel. In Premiere Pro CS6, select the clip and double click an effect in the Effects panel to apply it. You can apply the same effect multiple times, using different settings each time.
Click a spot in the time ruler above the selected clip to move the current-time indicator to that location. 2. Do one of the following: From the Effect Controls panel menu, choose Remove Effects Select Clip > Remove Effects Right-click a clip in a Timeline panel, and select Remove Effects. 3. in the Remove Effects dialog box, select the types of effects you want to remove, and click OK.
Viewing and adjusting effects and keyframes View effects in the Effect Controls panel View keyframes for an effect property in the Timeline panel Adjust or reset controls in the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip. Fixed effects are included with every clip: the Motion, Opacity, and Time Remapping effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section.
Note: It is not necessary to position the current-time indicator over a clip to activate the Effect Controls panel. To expand or collapse video or audio effects headings, click the Show/Hide button in the heading. When the arrows are pointing up heading is expanded to reveal all the effects in that section. When the arrows are pointing down , the heading is collapsed.
Applying effects to audio Applying audio effects in the Audio Mixer Apply a track effect in the Audio Mixer Adjust audio track effects in a Timeline Copy and paste track effects Designate a track effect as pre-fader or post-fader Remove or bypass a track effect in the Audio Mixer Working with VST effects Adjust a VST effect in a VST Editor panel Select a preset for a VST effect Premiere Pro includes VST (Virtual Studio Technology) audio plug-ins designed to alter or enhance the properties of audio clips.
In the Audio Mixer, track effect options are controlled after an effect is selected in the Effects And Sends panel. If the Effects And Sends panel isn’t visible, display it by clicking the Show/Hide Effects And Sends triangle on the left side of the Audio Mixer. The Effects And Sends panel contains Effect Selection menus to apply up to five track effects.
2. Select Edit > Copy. 3. Place the current-time indicator at the location where you want to paste the keyframes. 4. Select Edit > Paste. To the top 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 PostFader.
VST Editor panel for DeNoiser effect To the top Select a preset for a VST effect Right-click (Windows) or Control-click (Mac OS) the effect name in the Effects And Sends panel of the Audio Mixer, and choose a preset listed at the bottom of the menu. Note: If an effect doesn’t support presets, Default is the only choice. Default resets all option values for the effect.
Working with audio transitions Specify the default audio transition Set the default duration for audio transitions Crossfade between audio clips Fade in or fade out clip audio Adjust or customize an audio transition You can apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. To fade in or fade out, you add a crossfade transition to either end of a single clip.
audio clip. You can also select the applied transition in a Timeline. Then, in the Effect Controls panel, choose End At Cut from the Alignment menu. Use any of the three types of audio crossfade transitions to fade in or fade out. To the top 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.
Effect presets Effect presets Create and save an effect preset Apply an effect preset Work with a custom bins and preset bins To the top Effect presets Adobe recommends Have a tutorial you would like to share? Applying Effects to Groups of Clips Paul Trani Apply effects to groups of clips. Create a multieffect preset, save it in a new custom bin, and apply it to a group of clips. In the Effects panel, the Presets bin contains presets for popular effects.
Scale Scales the source keyframes proportionally to the length of the target clip. This action deletes any existing keyframes on the target clip. Anchor To In Point Retains the original distance from the clip In point to the first effect keyframe. If the first keyframe is 1 sec. from the In point of the source clip, this option adds the keyframe at 1 sec. from the In point of the target clip. This option also adds all other keyframes relative to that position, without any scaling.
To rename a bin, select the bin, then click the bin name, and then type a new name and press Enter (Windows) or Return (Mac OS). Skip steps 2 and 3. To delete a bin or an item in a bin, select the bin or bin item, and then click the Delete Custom Items button Effects panel. Skip steps 2 and 3. at the bottom of the 2. Locate the effect, transition, or preset that you want to store in the bin. You may need to resize the panel so that you can see both the item and the bin. 3. Drag the item to the bin.
Stabilize motion with the Warp Stabilizer effect (CS6) Stabilize with the Warp Stabilizer effect Warp Stabilizer settings You can stabilize motion with the Warp Stabilizer effect. It removes jitter caused by camera movement, making it possible to transform shaky, handheld footage into steady, smooth shots. For information about the Warp Stabilizer, and how memory and storage are affected, see this blog post.
Subspace Warp (default): Attempts to warp various parts of the frame differently to stabilize the entire frame. If there are not enough areas to track, Warp Stabilizer choose the previous type (Perspective). The method in use on any given frame can change across the course of the clip based on the tracking accuracy. Note: In some cases, Subspace Warp can introduce unwanted warping, and Perspective can introduce unwanted keystoning. You can prevent anomalies by choosing a simpler method.
applications and streamline everyday tasks. Contribute your expertise to Adobe Community Help 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.
Color correction and adjustment Adjusting color and luminance Set up a Color Correction workspace Apply the Color Correction effects Quickly remove a color cast Make quick luminance corrections Color balance, angle, and saturation controls Adjust color balance and saturation Adjust color and luminance using curves Adjust luminance using levels Select a color with the Adobe Color Picker Define the tonal ranges in a clip Specify a color or range of colors to adjust Replace a color Remove color in a clip Mix c
For information about scopes, see Waveform monitors and vectorscope. Correcting exposure: Overexposed image with the waveform in the upper limits of the IRE scale (left) and corrected image with the waveform within 7.5 to 100 IRE (right) To the top Set up a Color Correction workspace The following is a suggested procedure for setting up your color correction workspace. It’s meant only as a starting point so you can configure the workspace to suit your style of working. 1.
4. Move the current-time indicator to a frame that provides the best example of colors that need to be adjusted. 5. (Optional) Do any of the following to set preview options when correcting color: To view only the luminance values in a clip, choose Luma from the Output menu. This option only affects the preview in the Program Monitor, it doesn’t remove the color from the video. To display a before and after view of the clip in one monitor, select the Show Split View option.
become a neutral black. Like using the White Balance control, these adjustments affect all the colors in the clip. Note: You can also click the color swatch next to the eyedroppers and use the Adobe Color Picker to select a sample color. To the top Make quick luminance corrections The Fast Color Corrector and the Three-Way Color Corrector effects have automatic controls for making quick adjustments to the luminance in a clip.
Color correction adjustments using the color wheel A. Hue Angle B. Balance Magnitude C. Balance Gain D. Balance Angle The Saturation slider controls the color saturation in the video. Moving the slider to 0 desaturates the image so only the luminance values show (an image made up of white, grays, and black). Moving the slider to the right increases the saturation.
Rotating the outer ring of the color wheel (left) changes the hue angle (right). 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.
6. Do one of the following to make curve adjustments: To adjust the luminance, click to add a point on the Luma or Master graph and drag to change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip. The steeper sections of the curve represent portions of the image with greater contrast.
white levels of the waveform are within 7.5 to 100 IRE. This ensures that the levels are within broadcast standards. Original image (left); blacks and whites corrected to broadcast limits (right) 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.
Adobe Color Picker 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.
Tonal Range Definition control A. Shadow threshold B. Shadow softness C. Highlight softness D. Highlight threshold 5. Drag the Shadow Threshold and Highlight Threshold sliders to define the shadow and highlight tonal ranges. It’s best if you make the adjustments while viewing the tritone Tonal Range display of the image. 6. Drag the Shadow Softness and Highlight Softness sliders to feather (soften) the boundaries between the tonal ranges.
1. In a Timeline panel, select the clip you want to adjust so it appears in the Program Monitor. 2. If you want to replace a color in the displayed clip with a color in another clip in your project, open that other clip in the Source Monitor. 3. Apply the Color Replace effect to the clip you want to adjust. 4. In the Effect Controls panel, click the Setup icon for the Color Replace effect. 5.
Move the pointer into the Clip Sample (the pointer turns into an eyedropper) and click to select a color. Click the color swatch, select a color in the Adobe Color Picker, and then click OK to close the Adobe Color Picker. The selected color appears in the Output Sample. 4. For the Similarity option, drag the slider or enter a value to increase or decrease the color range to be preserved. 5. To reverse the effect, so that all colors except the specified color are preserved, select the Reverse option.
2. In the Effect Controls panel, click the triangle to expand the Lighting Effects. 3. Click the triangle to expand Light 1. 4. Choose a light type from the menu to specify the light source: None Turns off a light. Directional Shines light from far away so that the light angle doesn’t change—like the sun. Omni Shines light in all directions from directly above the image—like a light bulb over a piece of paper. Spotlight Casts an elliptical beam of light. 5.
A bump layer in the Lighting Effects lets you use the pattern or texture from a clip to control how light reflects off an image. Using a clip with textures like paper or water can create a 3D-like lighting effect. 1. Add the clip you want to use as a bump layer (texture) to a separate track in your sequence. 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.
Adjustment Layers (CS6) Adjustment Layers Create an adjustment layer Resize an adjustment layer to highlight an area Blend modes and adjustment layers Transform effect and adjustment layers Video tutorial: Using adjustment layers in Premiere Pro CS6 To the top Adjustment Layers In Premiere Pro CS6, you can use an adjustment layer allows you to apply the same effect to multiple clips on the Timeline. Effects applied to an adjustment layer affect all layers below it in the layer stacking order.
1. Edit an adjustment layer into a track above two or more clips. 2. With the adjustment layer selected, type "Transform" in the Rapid Find box of the Effects panel. The Transform effect will then appear. Double-click the Transform effect to apply it to the adjustment layer. 3. Place the playhead at the In point of the adjustment layer. 4. Click the stopwatch to set a keyframe for a transform effect, like Scale Height or Rotation. For Scale Height, check the Uniform Scale checkbox. 5.
The rolling shutter repair effect (CS6) A common problem for DSLR and other CMOS sensor-based cameras is that they typically have a lag time between scanning lines of video. Due to the time lag between scans, not all parts of the image are recorded at exactly the same time, causing rolling shutter distortions. These distotions can occur when the camera or subject is moving. In Premiere Pro CS6, the Rolling Shutter Repair effect can be used to remove these distortion artifacts.
Three-way Color Corrector effect (CS6) The three-way color corrector has been redesigned to improve accessibility to the most commonly used features, and to simplify existing workflows. Three-way color corrector in CS6 Output menu The Output menu has two options, Video and Luma. The Composite option has been relabeled to Video. Split view The Split view is collapsed by default. Master color wheel The Master option replaces the Master color wheel.
Audio effects and transitions reference Audio effects and transitions list Audio effects Audio crossfade transitions For video effects, see Video effects and transitions reference. To the top Audio effects and transitions list Audio effects Audio crossfade transitions To the top Audio effects Balance effect The Balance effect lets you control the relative volumes of the left and right channels.
Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips. Center Specifies the frequency at the center of the specified range. Q Specifies the width of the frequency band to preserve. Low settings create a wide range of frequencies, and high settings create a narrow band of frequencies. Bass effect The Bass effect lets you increase or decrease lower frequencies (200 Hz and below).
In the Effect Controls panel, Custom Setup for this effect shows Detected Crackles and Output monitors. The first shows the input signal with any detected crackles. The second shows the output signal with the crackles removed. Threshold Determines the detection level for the crackles. This control ranges from 0 to 100%. Reduction Determines the amount by which the crackles will be reduced. This control ranges from 0 to 100%. Efficiency meter This meter indicates the efficiency of the DeCrackler.
output increases by only 1 dB. Attack Sets the time (between 0.1 and 100 milliseconds) that the compressor takes to respond to a signal that exceeds the threshold. Release Specifies the time (between 10 and 500 milliseconds) it takes for the gain to return to the original level when the signal falls below the threshold. Auto Calculates the release time based on the incoming signal. MakeUp Adjusts the compressor’s output level (between –6 and 0 dB) to account for loss in gain caused by compression.
The Invert (audio) effect inverts the phase of all channels. This effect is available for 5.1, stereo, or mono clips. MultibandCompressor effect The MultibandCompressor effect is a three-band compressor with controls for each band. Use this effect instead of the compressor in Dynamics when you need a softer sounding compressor. Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view.
using graphical controls in the Custom Setup view, or by changing values in the Individual Parameters view. This effect is available for 5.1, stereo, or mono clips. Pitch Specifies the change in pitch in semitone steps. The adjustable range is between –12 and +12 semitones. Fine Tune Determines the fine tuning between the semitone grid of the Pitch property. Formant Preserve Prevents formants in the audio clip from being affected.
Note: Though the Exponential Fade transition is similar to the Constant Power transition, it is more gradual.
Creating common results Fade in video Picture-in-picture (PIP) and split screen Zoom and pan a still image Place lightning over part of a clip Create a Jacob’s Ladder Make reverb ring out This section contains procedures for achieving of some of the most popular results with Premiere Pro. You can find procedures for achieving many other results with Premiere Pro http://www.adobe.com/go/lr_PremierePro_community_en. To the top Fade in video 1.
Pull Direction A Stability value that is too low doesn’t allow the lightning to be stretched into an arc before it snaps back. A value that is too high lets the lightning bolt bounce around. To the top Make reverb ring out With the Reverb effect, you can make the audio of a clip ring out, that is make the last sound of the clip continue ringing past the end of the sound itself. 1. Extend the Out point of the clip to the duration at which you want the ringing to end. 2.
Duration and speed View the total duration of selected clips Change the default duration for still images Change speed and duration for one or more clips Blend frames for smooth motion Freeze a frame To the top View the total duration of selected clips 1. Make sure that the Info panel is visible. If it is not, choose Window > Info. 2. In either the Project panel or Timeline panel, select the clips for which you want to know the total duration.
3. Do any of the following: To change the duration without changing the speed of the selected clips, click the gang button so that it shows a broken link Unganging also allows you to change the speed without changing the duration. . The speed remains at the percentage set while you trim the clip or clips. Alternatively, the duration remains at the percentage set while you change the speed of the clip or clips. To play the clips backward, check Reverse Speed.
spread out beyond one frame, the halves form a speed change transition. Here, you can apply linear or smooth curves to ease in or ease out the change between playback speeds. For a video tutorial about variable speed changes, see the Adobe website. For a video tutorial about time remapping, see the Creative COW website. Footage is displayed at constant speed in one direction. Time-remapping distorts time for range of frames within clip.
Moving a speed keyframe up or down. Note its separable halves. A. Speed keyframe B. Rubber band 3. Do one of the following: Drag the rubber band on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion. (Optional) Press Shift while dragging to limit the speed change values to 5% increments. Shift-drag the speed keyframe to the left or right to change the speed of the portion to the left of the speed keyframe.
every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.) A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed control track appears in the upper portion of the clip, just below the clip title bar. 2. Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe . 3.
3. Click the Toggle Animation button next to the word Speed, to set it to the off position. This action deletes any existing speed keyframes, and disables Time Remapping for the selected clip. Note: To re-enable Time Remapping, click the Toggle Animation button back to the on position. You cannot use Time Remapping with this button in the off position. To the top Blend frames for smooth motion Motion in a clip may appear jerky when you change the speed of a clip or output to a different frame rate.
Blue curve control in gray area between halves of a freeze frame speed keyframe 6. (Optional) To change the acceleration or deceleration of the speed 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. Dragging a curve control handle to ease in a speed change to a freeze frame Freeze a video frame for the duration of a clip You can freeze on the clip’s In point, Out point, or at marker 0 (zero), if present. 1.
Video effects and transitions reference Effects list Transitions list Adjust effects Blur and Sharpen effects Channel effects Color Correction effects Distort effects Generate effects Image Control effects Keying effects Noise & Grain effects Perspective effects Stylize effects Time effects Transform effects Transition effects Utility effects Video effects Video dissolve transitions For audio effects and transitions, see Audio effects and transitions reference.
Color correction effects Distort effects Generate effects Image control effects 385
Keying effects Noise and grain effects Perspective effects Stylize effects Time effects Transform effects 386
Utility effects Video effects To the top Transitions list 3D Motion transitions Cube Spin Curtain (Windows only) Doors (Windows only) Flip Over Fold Up (Windows only) Spin (Windows only) Spin Away (Windows only) Swing In (Windows only) Swing Out (Windows only) Dissolve transitions Non-Additive Dissolve (Windows only) Random (Windows only) Iris transitions Iris Box transition Iris Cross transition Iris Diamond transition Iris Round transition Page Peel transitions Page Peel transition Page Turn transi
Wipe transitions Barn Doors Wipe transition Gradient Wipe transition Inset Wipe transition Wipe transition Transition effects To the top Adjust effects Auto Color, Auto Contrast, and Auto Levels effects The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip. Auto Color adjusts contrast and color by neutralizing the midtones and clipping the white and black pixels.
Extract effect The Extract effect removes colors from a video clip, creating a grayscale image. Pixels with luminance values less than the Black Input Level or greater than the White Input Level are made black. Everything between those points will appear gray or white. Note: The controls for this effect are similar to those of the Extract effect in Adobe After Effects, but the purpose and results of the effect are different. Levels effect The Levels effect manipulates the brightness and contrast of a clip.
To the top Blur and Sharpen effects Antialias effect (Windows only) The Antialias effect blends the edges between areas of highly contrasting colors. When blended, colors create intermediate shades that make transitions between dark and light areas appear more gradual. Camera Blur effect (Windows only) The Camera Blur effect simulates an image leaving the focal range of the camera, blurring the clip.
Gaussian Blur effect The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both. Ghosting effect (Windows only) The Ghosting effect overlays transparencies of the immediately preceding frames on the current frame. This effect can be useful, for example, when you want to show the motion path of a moving object, such as a bouncing ball. Keyframes cannot be applied to this effect.
Blend With Original The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip. If you set this value to 0%, the original image does not show through. If Layer Sizes Differ Specifies how to position the control layer.
Set Matte effect The Set Matte effect replaces the alpha channel (matte) of a clip with a channel from a clip in a different video track. This creates traveling matte results. Note: The Set Matte effect was originally developed for After Effects. It is included in Premiere Pro only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect.
How To Make Color Safe How to reduce signal amplitude: Reduce Luminance Reduces a pixel’s brightness by moving it toward black. This setting is the default. Reduce Saturation Moves the pixel’s color toward a gray of similar brightness, making the pixel less colorful. For the same IRE level, reducing saturation alters the image more noticeably than does reducing luminance. Maximum Signal Amplitude (IRE) The maximum amplitude of the signal in IRE units. A pixel with a magnitude above this value is altered.
[output channel]-[input channel] The percentage of the input channel value to add to the output channel value. For example, a Red-Green setting of 10 increases the value of the red channel for each pixel by 10% of the value of the green channel for that pixel. A Blue-Green setting of 100 and a Blue-Blue setting of 0 replaces the blue channel values with the green channel values. [output channel]-Const The constant value (as a percentage) to add to the output channel value.
Hue Balance And Angle Controls hue balance and hue angle using a color wheel. The small circle moves about the center of the wheel and controls the hue (UV) translation. This changes the balance magnitude and balance angle. The small perpendicular line sets the relative coarseness/fineness of the control, which controls the balance gain. Adjustments to the Hue Balance And Angle can be viewed in the vectorscope. Hue Angle Controls the hue rotation. The default value is 0.
Output Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma), display of the alpha matte (Mask) or a tritone representation of where the shadows, midtones, and highlights fall (Tonal Range). Show Split View Displays the left or upper part of the image as the corrected view and the right or lower part of the image as the uncorrected view. Layout Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical).
RGB Color Corrector effect The RGB Color Corrector effect adjusts the color in a clip by applying adjustments to the tonal ranges that you define for the highlights, midtones, and shadows. The effect lets you make tonal adjustments to each color channel individually. You can also specify the color range to be corrected by using the Secondary Color Correction controls. Jeff Sengstack explains how to adjust color channels using RGB Color Corrector and RGB Curves effects in this lynda.
Show Split View Displays one part of the image as the corrected view and the other part of the image as the uncorrected view. Layout Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical). Split View Percent Adjusts the size of the corrected view. The default is 50%. Master Alters the brightness and contrast of all channels when you change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip.
adjustment can be applied to highlights, midtones, and shadows. Highlight/Midtones/Shadows Balance Gain Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. The adjustment can be applied to highlights, midtones, and shadows. Highlights/Midtones/Shadows Balance Angle Controls the hue translation in the highlights, midtones, or shadows. Highlights/Midtones/Shadows Saturation Adjusts the color saturation in the highlights, midtones, or shadows.
Video Limiter effect The Video Limiter effect lets you limit the luminance and color in a clip so that they fall within parameters that you define. These parameters are useful for preserving the video as much as possible while making its signal fall within the broadcasting limits. Show Split View Displays one part of the image as the corrected view and the other part of the image as the uncorrected view.
Vertical and Horizontal Decentering Displace the focal point of the lens, making the image bend and smear. At extreme settings, the image wraps in on itself. Vertical and Horizontal Prism FX Create a result similar to vertical and horizontal decentering, except that at extreme values the image doesn’t wrap in on itself. Fill Color Specifies the background color. Fill Alpha Channel Makes the background transparent so that underlying tracks are visible.
The Transform effect applies two-dimensional geometric transformations to a clip. Apply the Transform effect instead of using clip Fixed effects if you want to render clip anchor point, position, scale, or opacity settings before other Standard effects are rendered. Anchor Point, Position, Rotation, Scale, and Opacity properties function much the same as the Fixed effects. Skew Skew amount. Skew Axis The axis about which skew occurs.
Direction The direction the wave travels across the image. For example, a value of 225° makes the waves travel diagonally from upper right to lower left. Wave Speed The speed (in cycles per second) at which the waves travel. A negative value reverses the wave direction, and a value of 0 produces no movement. To vary wave speed over time, set this control to 0, and then set keyframes for the Phase property. Pinning Which edges to pin so that the pixels along those edges aren’t displaced.
Evolution Options Provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to pre-render the cell pattern elements into loops, and thus speed up rendering time. Cycle Evolution Creates a loop that forces the evolution state to return to its starting point. Cycle The number of revolutions of the Evolution setting that the cell pattern cycles through before it repeats.
The Eyedropper Fill effect applies a sampled color to the source clip. This effect is useful for quickly picking a solid color from a sample point on the original clip or picking a color value from one clip and using blend modes to apply this color to a second clip. Original image (left), and with different color samples applied (center and right) Sample Point The center of the sampled area. Sample Radius The radius of the sampled area.
See an example of the Lightning effect in this video tutorial. Start Point, End Point Where the lightning begins and ends. Segments The number of segments that form the main lightning bolt. Higher values produce more detail but reduce the smoothness of motion. Amplitude The size of undulations in the lightning bolt as a percentage of the clip width. Detail Level, Detail Amplitude How much detail is added to the lightning bolt and any branches. For Detail Level, typical values range from 2 through 3.
effect fills. View Threshold Shows what pixels match—that is, which pixels are within the Tolerance value of the color values of the Fill Point pixel. This option is especially useful in tracking leaks. If there is a small gap, the color can flow over and fill areas not intended to be filled. Stroke How the effect treats the edges of the filled area: Antialias Anti-aliases the edges of the filled area. Feather Creates a feathered edge for the filled area.
in the box to toggle the effect off. Color Balance (RGB) effect The Color Balance (RGB) effect changes the amount of red, green, and blue in a clip. Color Pass effect (Windows only) The Color Pass effect converts a clip to grayscale, with the exception of a single specified color. Use the Color Pass effect to highlight a particular area of a clip.
Chroma Key effect A. Original image B. Blue color keyed out C. Image on second track D. Final composite image The following Chroma Key effect settings are adjusted in the Effect Controls panel: Similarity Broadens or reduces the range of the target color that will be made transparent. Higher values increase the range. Blend Blends the clip you are keying out with the underlying clip. Higher values blend more of the clip. Threshold Controls the amount of shadows in the range of color you keyed out.
Mid Point Chooses the balance point for the contrast value. Values range from 0 through 100. 0 does not affect the image. The default value is 50. Spill Suppression Desaturate Controls the saturation of the color channel background color. Desaturates colors that are close to being fully transparent. Values range from 0 through 50. 0 does not affect the image, The default value is 25. Range Controls the amount of spill that is corrected. Values range from 0 through 100. 0 does not affect the image.
1. Find a frame of your foreground clip that consists only of the static background. You will use this frame as a matte. Save this frame as an image file. It will appear in the Project panel. 2. Drag the matte frame from the Project panel to a video track in a Timeline panel. 3. Drag the clip you want to use as the background to a track in a Timeline panel above the matte frame. 4. Place the video clip you wish to use in the foreground on a track in a Timeline panel above the background clip. 5.
Image Matte Key effect The Image Matte Key effect keys out areas of a clip’s image based on the luminance values of a still image clip, which serves as a matte. The transparent areas reveal the image produced by clips in lower tracks. You can specify any still image clip in the project to serve as the matte; it does not have to be in the sequence. To use a moving image as the matte, use the Track Matte Key effect instead.
White background of original (top and left) is removed using the Luma Key effect and composited over underlying layer (right). Adjust the following settings as necessary: Threshold Specifies the range of darker values that are transparent. Higher values increase the range of transparency. Cutoff Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase transparency.
Remove a black or white matte If you imported a clip that contains a solid black or white matte that’s premultiplied (merged into the RGB channels instead of stored in the alpha channel), you can remove the black or white background. 1. In a Timeline panel, select the clip containing the matte you want to remove. 2. In the Effects panel, click the triangle to expand the Video Effects bin and then click the triangle to expand the Keying bin. 3. Drag the Remove Matte effect to the clip containing the matte.
Add an opacity key to the superimposed image, Insert the still image into another sequence, and superimpose the sequence containing the still image over the track containing the background clip. 3. Add the track matte clip to a third track above the tracks with the background and superimposed clips. If you need to add a new track to the sequence, drag the track matte clip to the empty area above the highest video track in a Timeline panel. A new track is created automatically. 4.
Original Alpha How to apply the noise to the alpha channel: Add Produces equal amounts of noise in the transparent and opaque areas of the clip. Clamp Produces noise in the opaque areas only. Scale Increases the amount of noise proportionate to the level of opacity and produces no noise in 100% transparent areas. Edges Produces noise only in partially transparent areas, such as the edge of the alpha channel.
Basic 3D effect: Swivel (left), Swivel and Tilt (center), and Swivel, Tilt, and Distance (right) Swivel Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of the image, which is the mirror image of the front. Tilt Controls vertical rotation (rotation around a horizontal axis). Distance To Image Specifies the image’s distance from the viewer. As the distance gets larger, the image recedes.
Shadow Color The color of the shadow. Note: The colors of the clip may override the Shadow Color if you choose Glass Edges from the Render control menu. See the Render and Color Influence controls for more information. Opacity The opacity of the shadow. Light Source The location of the point light source. Copy and paste position keyframes from another effect (for example, Lens Flare) to quickly create a shadow that matches the other effect’s light source.
Paint On Transparent Causes only the strokes themselves to appear, leaving the clip transparent between the strokes. Paint On White/Paint On Black Applies strokes over a white or black background. Blend With Original The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip.
Stretch Width or Height The width or height of the fractal used to calculate the roughness. Offset (Turbulence) Determines the portion of the fractal shape used to create the distortion. Complexity Determines the level of detail in the roughness. Note: Increasing complexity results in longer rendering times. Reduce the Scale value rather than increasing Complexity to achieve similar results. Evolution Animating this setting results in changes of the roughness over time.
Effect applied with threshold settings of 44 (left), 70 (center), and 200 (right) To the top Time effects Echo effect The Echo effect combines frames from different times in a clip. The Echo effect has a variety of uses, from a simple visual echo to streaking and smearing effects. The results of this effect are visible only if the clip contains motion. By default, any previously applied effects are ignored when you apply the Echo effect.
The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip. Latitude Moves the camera vertically. The effect makes the clip appear to be flipping vertically. Longitude Moves the camera horizontally. The effect makes the clip appear to be flipping horizontally. Roll Rolls the camera, thus appearing to rotate the clip. Focal length Changes the focal length of the camera lens.
The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values of corresponding pixels in another video track, called the gradient layer. Dark pixels in the gradient layer cause the corresponding pixels to become transparent at a lower Transition Completion value. For example, a simple grayscale gradient layer that goes from black on the left to white on the right causes the underlying clip to be revealed from left to right as Transition Completion increases.
Wipe Specifies whether the transition moves clockwise or counterclockwise, or alternates between the two. Original image (left), and with effect applied (center and right) Venetian Blinds effect The Venetian Blinds effect reveals an underlying clip using strips of specified direction and width.
Timecode Source Chooses the source for the timecode: Clip Displays the timecode starting at 0 from the beginning of the clip. Media Displays the timecode of the media file. Generate Starts the timecode as determined by the Starting Time In The Offset option and counts up based on the Time Display option. Note: Setting Timecode Source to Generate enables the "Starting Timecode" field. By enabling the Starting Timecode field, you can set a custom start time.
Eliminate flicker Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens. The Anti-flicker Filter control, located in the Effect Controls tab > Motion effect, can reduce or eliminate this flicker. As you increase its strength, more flicker is eliminated, but the image also becomes softer. You may need to set it relatively high for images with lots of sharp edges and high contrast. 1.
Interlacing and field order Interlaced video, noninterlaced video, and progressive scanning About field dominance and field reversal Create interlaced or non-interlaced clips Change the field order of a clip Interlaced video, noninterlaced video, and progressive scanning To the top Interlaced scanning of interlaced video fields compared with progressive scanning of noninterlaced video frame. A.
The clip is set to play backward. To the top Create interlaced or non-interlaced clips Ordinarily, individual interlaced fields aren’t apparent to a viewer. However, playing a clip in slow-motion, creating a freeze frame, or exporting a field as a still image can make a single field distinguishable. For these purposes, it is sometimes preferable to deinterlace the image—that is, replace pairs of consecutive interlaced fields with single non-interlaced frames.
Modifying and customizing transitions Display transitions in the Effect Controls panel Adjust transition alignment Move a cut and transition together Change transition duration Reposition the center of a transition Change transition settings To the top Display transitions in the Effect Controls panel You can use the Effect Controls panel to change settings for a transition you placed in a sequence. Settings vary from transition to transition.
1. In a Timeline panel, zoom in so that you can clearly see the transition. 2. Drag the transition over the cut to reposition it. Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel 1. 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 the panel to make this button visible and active. in the Effect Controls panel.
Lengthening a transition’s duration requires that one or both clips have enough trimmed frames to accommodate a longer transition. (See Clip handles and transitions.) Change transition duration in a Timeline panel In a Timeline panel, position the pointer over the end of the transition until the Trim-In icon or the Trim-Out icon appears; then drag. Change transition duration in the Effect Controls panel 1. Double-click the transition in a Timeline panel to open the Effect Controls panel. 2.
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Motion: position, scale, and rotate a clip Adjust position, scale, and rotation Scale assets Animate motion in the Program Monitor Adjust or animate clip anchor points To the top Adjust position, scale, and rotation Use the Motion effect to position, scale, or rotate a clip within the video frame. To animate clips, you must set keyframes for Motion properties. By default, each clip that you add to a Timeline panel has the Motion effect applied as a fixed effect.
To the top Scale assets When you drag an asset into a sequence, by default Premiere Pro preserves its frame size and centers the asset in the program frame. Alternatively, you can automatically scale imported assets to the project’s default frame size. You can rescale the asset without distortion if its pixel aspect ratio has been interpreted correctly. Scale assets manually 1. Drag the asset into a sequence and select the asset. 2. Open the Effect Controls panel. 3.
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. 3. Move the current-time indicator to the frame where you want to start the animation—any frame between the clip’s current In point to its Out point. 4.
By default, a clip anchor point is set at the exact center of a clip. You can change the position of a clip in relation to its frame or motion path, however, by moving the clip anchor point. Further, you can change the location of the clip anchor point over time, allowing the clip to move in relation to its frame or motion path. Animating the clip anchor point can be used, for example, to create an image-panning effect. 1. In a Timeline panel, place the current-time indicator at the beginning of a clip. 2.
Transition overview: applying transitions Clip handles and transitions Single- and double-sided transitions Applying transitions Apply a transition between two clips Apply a single-sided transition Specify and apply default transitions Copy and paste a transition Replace a transition A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but in some cases you might want to transition between shots by phasing out one and phasing in another.
A clip with handles A. Media Start B. Handle C. In point D. Out point E. Handle F. Media End In some cases, the source media may not contain enough frames for clip handles. If you apply a transition, and the handle duration is too short to cover the transition duration, an alert appears to warn you that frames will be repeated to cover the duration. If you decide to proceed, the transition appears in a Timeline panel with diagonal warning bars through it.
either starts or ends at the cut. If neither clip contains trimmed frames, the transition automatically centers over the cut and repeats frames from the first clip, or from the second clip, or from both clips, as needed to fill the transition duration. Diagonal bars appear on transitions that use repeated frames. If only the first clip contains trimmed frames, the transition automatically snaps to the In point of the next clip.
1. Do one of the following: Choose Edit > Preferences > General (Windows), or Premiere Pro > Preferences > General (Mac OS). Click the Effects panel menu button. Choose Default Transition Duration. 2. Change the value for the Video Transition Default Duration or Audio Transition Default Duration, and then click OK. Add the default transition between two clips You can apply the default transition to adjoining pairs of clips on one or more tracks 1.
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Adding, navigating, and setting keyframes View keyframes and graphs Move the current-time indicator to a keyframe Add, select, and delete keyframes Modify keyframe values To animate a property is to change its value over time. In Premiere Pro, effect properties can be animated by assigning keyframes to them. A keyframe marks the point in time where you specify a value, such as spatial position, opacity, or audio volume. Values between keyframes are interpolated.
A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip. For audio effects, a Timeline panel can also display the keyframes for an entire track. Each clip or track can display a different property.
4. (Optional) Use the Zoom In control to magnify the clip so that the effect menu appears at the top of the track. You can also drag the boundaries above and below the track name to increase the track height. Dragging to increase the height of a track 5. (Optional) Drag the boundaries of a track header to change the height of a track. For a video track, drag the top of the track. For an audio track, drag the bottom of the track. To resize all expanded tracks, hold down the Shift key while dragging. 6.
Keyframe navigator A. Keyframe navigator in Effect Controls panel B. Current-time indicator C. Keyframe navigator in Timeline panel To the top Add, select, and delete keyframes Add keyframes You can add keyframes in the Timeline or the Effect Controls panel at the current time. Use the Toggle Animation button in the Effect Controls panel to activate the keyframing process. In Premiere Pro CS5, keyframe display must be enabled for a track or clip before you can view or add keyframes in a Timeline panel.
If you want to modify or copy a keyframe, first select it in a Timeline panel. Unselected keyframes appear hollow; selected keyframes appear solid. You don’t need to select segments between keyframes because you can drag segments directly. Also, segments automatically adjust when you change the keyframes that define their end points. Do any of the following: To select a keyframe, use the Selection tool or the Pen tool to click the Keyframe icon in the Timeline panel.
2. In the Effect Controls panel, click the triangle to expand the controls for the effect. 3. Click the triangle next to a property’s name to display its Value and Velocity graphs. Note: If no keyframes have been added, the graphs appear as flat lines. 4. (Optional) To better view a graph, hover the Selection or Pen tool over the boundary line below a graph. When the pointer turns into a segment pointer , drag to increase the height of the graph area. 5.
Moving and copying keyframes Move keyframes in time Determine keyframe snapping Copy and paste keyframes To the top Move keyframes in time Note: The first keyframe always uses the Start Keyframe icon Use Selection Tool or Pen Tool to do one of the following: and the last keyframe always uses the End Keyframe icon . In a Timeline panel, select one or more keyframes and drag to the desired time. In the Effect Controls panel, select one or more keyframe markers and drag to the desired time.
If the current-time indicator is positioned within a selected clip, keyframes are pasted in that clip. If audio keyframes are cut or copied, Premiere Pro pastes in the first track where it finds a corresponding effect property, looking first at a sequence’s audio tracks, then its submix tracks, and then the master track.
Controlling effect changes using keyframe interpolation About interpolation Change the keyframe interpolation method Control change using Bezier keyframe interpolation Fine-tune the speed of an effect To the top About interpolation Interpolation is the process of filling in the unknown data between two known values. In digital video and film, this usually means generating new values between two keyframes.
Auto Bezier Creates a smooth rate of change through a keyframe. As you change a keyframe’s value, the Auto Bezier direction handles change to maintain a smooth transition between keyframes. Continuous Bezier Creates a smooth rate of change through a keyframe. However, unlike the Auto Bezier interpolation method, Continuous Bezier lets you adjust direction handles manually.
Such adjustments can simulate real-world motion. For example, you can change the motion of a clip so that it slows down just before a keyframe and then speeds up just after the keyframe. You can control the values approaching and leaving a keyframe together, or you can control each value separately. Velocity graph A. Speed controls B. Incoming direction handles C. Outgoing direction handles 1.
Optimize keyframe automation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance. To avoid creating unnecessary keyframes, thereby ensuring both quality interpretation and minimal performance degradation, set the Automation Keyframe Optimization preference. In addition to the other benefits, you can edit individual keyframes much easier if they are assembled less densely in the track. 1.
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Compositing, alpha channels, and adjusting clip opacity Alpha channels and mattes About keying Specify clip opacity in a Timeline panel Compositing tips Adobe After Effects, another program in Adobe Creative Suite Production Premium, gives you a greatly expanded range of compositing tools. You can easily import composites made in After Effects into Premiere Pro. To create a composite from multiple images, you can make parts of one or more of the images transparent so that other images can show through.
proportion to their degree of transparency. Some software lets you specify the background color with which the channels are premultiplied; otherwise, the background color is usually black or white. Straight channels retain more accurate color information than premultiplied channels. Premultiplied channels are compatible with a wider range of programs, such as Apple QuickTime Player.
Applications such as Adobe After Effects, Adobe Photoshop, and Adobe Illustrator can save clips with their original alpha channels, or add alpha channels, when the file is saved to a format that supports an alpha channel. For more information about compositing in Premiere Pro, see this video by Learn by Video and Video2Brain by Jan Ozer Eran Stern has a half-hour tutorial on compositing in Premiere Pro using the Ultra Key and Track Matte Key effects.
Blending modes Blend mode reference You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks. For more information about the Subtract and Divide blend modes, see this video by Video2Brain. Chris and Trish Meyer explain and demonstrate blending modes in Premiere Pro in an article on the ProVideo Coalition website. See Andrew Devis' tutorial on Creative Cow, “Color Correction 5: Blend Modes.
stroke with this blend mode results in a darker color. Color Burn The result color is a darkening of the source color to reflect the underlying layer color by increasing the contrast. Pure white in the original layer does not change the underlying color. Linear Burn The result color is a darkening of the source color to reflect the underlying color. Pure white produces no change. Darker Color Each result pixel is the color of darker of the source color value and the corresponding underlying color value.
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Workflow and overview for exporting Types of exporting Adobe Media Encoder Workflow for exporting video and audio files FAQ: "How do I export a movie for YouTube, Vimeo, iPad, iPhone, Apple TV?" FAQ: What’s the best export format or codec? Jeff Bellune provides an overview of the ways to export video from Premiere Pro on his website. Exporting to DVD is done with Adobe Encore. For information about exporting a DVD of your program, see Exporting to DVD or Blu-ray Disc.
To the top Workflow for exporting video and audio files 1. Do one of the following: In a Timeline panel or Program Monitor, select a sequence. In a Project panel, Source Monitor, or bin, select a clip. 2. Do one of the following: Choose File > Export > Media. Premiere Pro opens the Export Media dialog box. Choose File > Export. Then select one of the options other than Media from the menu. 3. (Optional) In the Export Settings dialog box, specify the Source Range of the sequence or clip you want to export.
Formats exported directly from Premiere Pro In addition to the file formats exported by Adobe Media Encoder, Premiere Pro exports several file formats directly.
Export to Panasonic P2 format When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB. When Premiere Pro exports clips or sequences larger than 4 GB to P2 format, it exports them as groups of 4 GB spanned clips. For more information about clip spanning, see About spanned clips.
Exporting OMF files for Pro Tools Export an OMF file for Pro Tools Features supported in OMF files Tips for importing OMF files into Pro Tools You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open Media Format (OMF) file. DigiDesign Pro Tools imports OMF files, when the DigiTranslator feature is licensed. With DigiTranslator in Pro Tools, you can sweeten soundtracks from Premiere Pro.
Stereo Balance Premiere Pro applies clip balance to the Clip Gain effect for the clip. Premiere Pro does not apply Audio Mixer balance, as that is track-based, not clip-based. Channel Gain effects for 5.1-channel and 16-channel tracks Premiere Pro applies the first channel-gain value per clip channel. Premiere Pro does not apply clip channel-gain keyframes. Fill Left, Fill Right, and Swap Channel effects Premiere Pro applies the first value for Fill Left, Fill Right, and Swap Channel effects to each clip.
Export a still image For a video demonstrating the export of a frame, see the Adobe website. in the Source Monitor and Program Monitor enable you to quickly export frames of video without using the Adobe The Export Frame buttons Media Encoder. This is sometimes called a frame grab. 1. Position the playhead at the desired frame in a clip or sequence. 2. Click the Export Frame button . The Export Frame dialog box opens with the name field in text edit mode. The entire name is selected for editing.
Exporting to DVD or Blu-ray Disc Choosing file formats for various discs Send a sequence to Encore to create a DVD, Blu-ray Disc, or SWF You can export sequences or portions of sequences in files formatted for authoring and burning to DVD and Blu-ray Disc. Alternately, you can export to Encore for authoring a DVD or Blu-ray Disc with menus, or direct burning to disc without menus. For a video on using Dynamic Link and the Send To Encore command, see the Adobe website.
Smart rendering Smart rendering (Premiere Pro CS6, (6.0.1, and later)) When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible. In previous versions of Premiere Pro, smart rendering has been available for DV and DVCPro formats. In Premiere Pro CS6 (6.0.1, and later), smart rendering capability has been added for Long GOP MPEG2 OP1a exports, where the original material is a matching long GOP MPEG2 OP1a or XDCAM EX file.
Working with Adobe SpeedGrade CS6 About Adobe SpeedGrade CS6 Send a sequence to Adobe SpeedGrade CS6 Video tutorial: Loading and conforming material to Adobe SpeedGrade CS6 Send an EDL to SpeedGrade To the top About Adobe SpeedGrade CS6 Adobe SpeedGrade is the powerful, new color grade application included with Adobe Production Premium, Adobe Master Collection, and Adobe Creative Cloud.
9. In the Reels section, click the Load from Desktop button. SpeedGrade conforms the material based on the information from the EDL. Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Exporting for the Web and mobile devices Moving assets between Adobe Premiere Pro and Adobe Flash Tips for creating FLV and F4V files Tips for creating video for mobile devices You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices. In Export Settings, select an H.264 format preset made for the target device.
frame rate of an FLA file, use the Advanced Video Encoding settings in the FLV Import wizard. Select a frame size that fits your data rate and frame aspect ratio At a given data rate (connection speed), increasing the frame size decreases video quality. When you select the frame size for your encoding settings, consider frame rate, source material, and personal preferences. To prevent pillarboxing, choose a frame size of the same aspect ratio as the frame aspect ratio of your source footage.
Note: For tips on making movies smaller, see the online Help for After Effectsand Adobe Premiere Pro. Match the color palette to the correct mobile devices. Mobile devices, in general, have a limited color range. Previewing in Device Central can help determine if the colors used are optimal for an individual device or range of devices. Adjust clips. Grayscale view is helpful to compare values. Use the presets available in Adobe Media Encoder.
Exporting projects for other applications Export a project as an EDL file Exporting AAF files Export a Final Cut Pro project XML file To the top Export a project as an EDL file You can export a data file that describes the project and enables you to recreate it either with related media or by using another editing system. With Premiere Pro you can export your project as an edit decision list (EDL) in the CMX3600 format. This format is the most widely accepted and most robust of the EDL formats.
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.
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Exporting to videotape Prepare for exporting to DV videotape Export a sequence to tape with device control Export a sequence to tape without device control You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape. When you start a new sequence, you specify the format and quality for the videotape in the Editing Mode area of the New Sequence dialog box.
2. Activate the sequence you want to export, and position the work area bar over the section of the sequence you want to export. To place the work area bar over the whole section of the sequence that is visible in the Timeline panel double-click in the space just under the time ruler. To first view the whole sequence, press the backslash (\) key. 3. Choose File > Export > Export To Tape. 4.
