Page 1 Using ADOBE PREMIERE PRO CS5 & CS5.5 ® ®...
Page 2: Legal Notices
Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. Last updated 1/16/2012...
Page 3: Table Of Contents
..................28 Adobe Dynamic Link .
Page 4 ................. 249 Editing and mixing audio in Adobe Audition .
Page 5 USING ADOBE PREMIERE PRO Contents Viewing and adjusting effects and keyframes ............... . . 281 Applying effects to audio .
Page 6: Chapter 1: What's New
You can find and fix speech analysis errors more easily by making Speech analysis improvements with Adobe Story side-by-side comparisons of the text of the speech analysis with the text of the Adobe Story script. You can also attach Last updated 1/16/2012...
Page 7: What's New (Cs5)
USING ADOBE PREMIERE PRO What's new an Adobe Story script file (.astx) to a single or multiple clips directly in Adobe Premiere Pro. You don't have to use OnLocation for this step anymore. See “Improve speech analysis with Adobe Story scripts (CS5.5 and later)”...
Page 8 Turn spoken dialogue into searchable text faster and with higher accuracy. Synchronize content with your Adobe Story script, or by using reference scripts that are optimized for your content. Accelerate editing by marking In and Out points in the speech analysis text. Use face detection technology to locate clips containing human faces. Plus, metadata stays with the assets you create, making your content more discoverable online.
Page 9 Encore. Encore uses the metadata along with subtitles and menu button text to make your web-DVDs searchable. For more information, see Help for Encore: Using Adobe Encore. Dynamic Link communication between Adobe Premiere Pro and Adobe After Dynamic Link is now bidirectional Effects is now bi-directional.
Page 10: Chapter 2: User Interface
You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing. You can use floating windows to create a workspace more like workspaces in previous versions of Adobe applications, or to place panels on multiple monitors.
Page 11 A. Application window B. Grouped panels C. Individual panel Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.
Page 12 USING ADOBE PREMIERE PRO User interface Dragging panel (A) onto docking zone (B) to dock it (C) Grouping zones Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels.
Page 13 When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window. You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces in earlier versions of Adobe applications. ❖...
Page 14 USING ADOBE PREMIERE PRO User interface To quickly maximize a panel beneath the pointer, press the accent key. (Do not press Shift.) Press the accent key again to return the panel to its original size. Do either of the following: •...
Page 15 USING ADOBE PREMIERE PRO User interface Drag horizontal scroll bar to see all panels in narrow group Working with multiple monitors To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on one monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace.
Page 16: Working With Panels
You can expand any panel to display it in full-screen mode, and toggle back to normal view. You can do so with the current panel in focus or the panel you are hovering over with your mouse. In Adobe Premiere Pro CS5, do the following.
Page 17 USING ADOBE PREMIERE PRO User interface Tools panel and Options panel When you open the Options panel, it opens by default in the horizontal docking area running just under the menu bar, forming the Options bar. You can undock, move, and redock the Options panel like any other panel. By default, the Options panel contains a menu of workspaces and a link to CS Services.
Page 18 USING ADOBE PREMIERE PRO User interface unchanged. For more information about using the Rate Stretch Tool, see “Change clip speed and duration with the Rate Stretch tool” on page 300 or this video about the Rate Stretch Tool by Andrew Devis..
Page 19 USING ADOBE PREMIERE PRO User interface Indicates sample rate, bit depth, and channels, in that order. Audio Indicates the name of the tape. Tape Indicates the In point timecode of the selected clip. Indicates the Out point timecode of the selected clip.
Page 20: Preferences
• For Windows: <drive>\Users\<username>\AppData\Roaming\Adobe\Adobe Premiere Pro • For Mac OS: <drive>/Users/<username>Library/Preferences/com.adobe.AdobePremierePro.plist This excerpt from the Adobe Premiere Pro Classroom in a Book explains how to set up projects, sequences, and preferences when getting started with Premiere Pro. See Selecting Settings, Adjusting Preferences, and Managing Assets in Adobe Premiere Pro CS5.
Page 21 USING ADOBE PREMIERE PRO User interface “Set the default keyframe display of audio tracks” on page 141 “Render audio when rendering video” on page 206 “Scale assets” on page 294 “Change bin behaviors” on page 107 “Specify whether to render audio when rendering video”...
Page 22 In the Audio Output Mapping pane of the Preferences dialog box, you specify the target speaker in your computer sound system for each supported audio channel. Note: Adobe Audition users will need to use Audio Output Mapping preferences to that 5.1 clips will output Ls, Rs, C, and LFE channels in the same order as Audition.
Page 23 USING ADOBE PREMIERE PRO User interface 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.
Page 24 “Move or clean the Media Cache Database” on page 49 “Choose timecode display format” on page 98 “Ensure that Adobe video applications use the same cached files” on page 208 “About the Metadata panel in Premiere Pro” on page 113...
Page 25 USING ADOBE PREMIERE PRO User interface • 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.
Page 26: Chapter 3: Workflows And Setup
Reviewing the entire workflow for a production before creating a project and first sequence can help you optimize Adobe Premiere Pro for the needs of that production. It can also help you plan for the special needs your production has at any particular step. For example, if you learn, before you begin, the parameters of your footage, you can select the best sequence presets for your production.
Page 27 VHS to HDTV. Optionally, if you import an Adobe OnLocation project into Premiere Pro, metadata from Adobe OnLocation makes it easy to create a preliminary rough cut. Use Speech Search to synchronize the script to footage, and then edit based on the dialogue transcript.
Page 28 “About capturing and digitizing” on page 78.) You can also use Adobe® Bridge to organize and find your media files. Then use the Place command in Adobe Bridge to place the files directly into Premiere Pro. In the Project panel, you can label, categorize, and group footage into bins to keep a complex project organized. You can open multiple bins simultaneously, each in its own panel, or you can nest bins, one inside another.
Page 29 USING ADOBE PREMIERE PRO Workflows and setup 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.
Page 30 USING ADOBE PREMIERE PRO Workflows and setup Titler 5. Add transitions and effects The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s motion, opacity, and Variable Rate Stretch using the Effect Controls panel. The Effect Controls panel also lets you animate a clip’s properties using traditional keyframing techniques.
Page 31 7. Export Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file. Using the Adobe Media Encoder, you can customize the settings for MPEG-2, MPEG-4, FLV, and other codecs and formats, to the needs of your viewing audience.
Page 32: Cross-Platform Workflow
Workflows and setup Export Settings dialog box and Encore New Project dialog box More Help topics “Import clips from Adobe OnLocation projects using the Media Browser” on page 72 What is Premiere Pro? on Adobe TV The Basic Premiere Pro workflow on Adobe TV Cross-platform workflow You can work on a project across computer platforms.
Page 33: Cross-Application Workflows
A red bar in the timeline indicates which sections contain files needing rendering. Cross-application workflows You can use various other Adobe applications to enhance or modify the assets used in a Premiere Pro project. Also, you can use Premiere Pro to edit projects begun in other applications.
Page 34 USING ADOBE PREMIERE PRO Workflows and setup • Use the superior selection and masking tools to divide a frame into elements for animation or compositing. Online resources for Premiere Pro and Photoshop workflow • Franklin McMahaon provides a video tutorial that demonstrates creating a title in Photoshop for use in Premiere in this video tutorial from Layers Magazine.
Page 35 • From the After Effects Timeline panel, you can copy layers based on audio or video footage items (including solids) and paste them into the Adobe Premiere Pro Timeline panel. • From the Adobe Premiere Pro Timeline panel, you can copy assets (any items in a track) and paste them into the After EffectsTimeline panel.
Page 36 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.
Page 37 Effects, After Effects retains the Photoshop layer information. You cannot paste Adobe Premiere Pro titles into After Effects, but you can paste text with attributes from the Adobe Premiere Titler into After Effects. Select an asset from the Adobe Premiere Pro Timeline panel.
Page 38 Adobe Flash. Adobe Flash can import sequence markers you add in an Adobe Premiere Pro sequence as cue points. You can use these cue points to trigger events in SWF files on playback. If you export video files in other standard formats, Adobe Flash can encode your videos within rich media applications.
Page 39 Import clips with In and Out points set in Adobe OnLocation In Adobe OnLocation, you can set In and Out markers for clips. When you import a clip from an Adobe OnLocation project using the Media Browser, the imported master clip retains these In and Out markers. You can mark the good portions of clips in Adobe OnLocation, import them into Premiere Pro and start editing the good portions immediately.
Page 40 65 “Exporting to DVD or Blu-ray Disc” on page 441 Working with Final Cut Pro and Adobe Premiere Pro You can import Final Cut Pro project XML files into Premiere Pro. For more information, see “Importing XML project files from Final Cut Pro”...
Page 41: Adobe Dynamic Link
You can send selected clips from Adobe Premiere Pro into After Effectsas a composition or nested composition, replacing the clips in AdobePremiere Pro with a dynamically linked composition. With Dynamic Link, you can also send sequences from Adobe Premiere Pro into Encore for authoring to DVD, Blu- ray Disc, or SWF files.
Page 42 • edit it with Adobe Premiere Pro tools When you add a linked composition that contains both video and audio to a sequence, Adobe Premiere Pro inserts linked video and audio clips in the timeline. You can unlink the video from the audio to edit the clips separately.
Page 43 USING ADOBE PREMIERE PRO Workflows and setup In Adobe Premiere Pro, select a sequence. Then, choose Sequence > Sequence Settings. In the Video Previews pane, select Maximum Bit Depth and Maximum Render Quality to haveAdobe Premiere Pro process at the highest possible quality.
Page 44 Import Composition dialog box opens. Note: You can link to a single After Effects composition multiple times in a single Adobe Premiere Pro project. In an Adobe Encore project, however, you can link to an After Effects composition only once.
Page 45 Timeline, and choose Edit > Edit Original. Change the composition in After Effects. Then, switch back to Adobe Premiere Pro or Encore to view your changes. The changes made in After Effects appear in Adobe Premiere Pro. Adobe Premiere Pro stops using any preview files rendered for the clip before the changes.
Page 46: Setting Up Your System
Effects. The linked composition is replaced in the Project panel with an offline composition. You can temporarily suppress a linked clip in Adobe Premiere Pro by selecting the clip and choosing Clip > Enable. To relink the clip, choose Clip > Enable again (a check mark next to the command indicates that the clip is enabled).
Page 47 The trial version for Adobe Premiere Pro CS5.5 and later does not have the limitations that Premiere Pro CS5 has. It includes all sequence presets, editing modes, encoders, and decoders that are included in the full, activated version of Premiere Pro CS5.5 and later.
Page 48 USING ADOBE PREMIERE PRO Workflows and setup More Help topics “Creating and changing projects” on page 51 “Selecting a sequence preset” on page 147 “Create a sequence” on page 142 “Create an HDV or HD sequence” on page 149 Set up an SD-SDI, HD-SDI, or component system SDI/component setup with breakout box A.
Page 49 USING ADOBE PREMIERE PRO Workflows and setup Do one of the following: • Connect the serial device control port (RS-422 or RS-232) on the camcorder or VTR with the serial port (Windows) or USB port (Mac OS) on the computer. Use the Pipeline Digital ProVTR cable for RS-232/422-controlled devices.
Page 50 USING ADOBE PREMIERE PRO Workflows and setup • AVCHD • AVC-I You can also preview video on a high-definition TV monitor, if your computer has one of the following: • a high-definition capture card, • a display card with component, SDI or HDMI outputs.
Page 51 USING ADOBE PREMIERE PRO Workflows and setup (Optional. For an analog camcorder or VTR with an RS-422 or RS-232 port. Windows only) Connect the serial device control port on the camcorder or VTR with the serial port on the computer or digitizer using the Pipeline Digital ProVTR cable.
Page 52 Click ASIO settings. Specify the ASIO settings for the selected device. Note: The device and driver you use determine the settings in this dialog box, not Adobe Premiere Pro. See the documentation for the ASIO device and driver you use.
Page 53 USING ADOBE PREMIERE PRO Workflows and setup All scratch disk preferences are saved with each project. You can select different scratch disk locations for different projects. If you reopen an 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.
Page 54 See this video to learn about hard disk setup for optimum performance in Adobe Premiere Pro and After Effects. To learn how to format a disk as NTFS on Windows, see this web page on the Microsoft site.
Page 55 Workflows and setup A database retains links to each of the cached media files. This media cache database is shared with Adobe Media Encoder, After Effects, Premiere Pro, Encore, and Soundbooth, so each of these applications can each read from and write to the same set of cached media files.
Page 56: Chapter 4: Project Setup
“Getting Started with Premiere Pro” from Video2Brain. This chapter from the “Adobe Premiere Pro CS5 Classroom in a Book” explains how to set up projects, sequences, and preferences when getting started with Premiere Pro. Maxim Jago shows how to create a new project and sequence in this video from “Premiere Pro CS5: Learn by Video”...
Page 57: Create A Project
USING ADOBE PREMIERE PRO Project setup Create a project Projects may contain more than one sequence, and the settings for one sequence may differ from that of another. Premiere Pro will prompt you for settings for the first sequence every time you create a new project. However, you can cancel this step to create a project containing no sequences.
Page 58 Open a project Premiere Pro for Windows can open project files created with earlier versions of Premiere Pro or Adobe Premiere 6.x. You can open only one project at a time. To transfer the contents of one project into another, use the Import command.
Page 59: Archiving Projects
USING ADOBE PREMIERE PRO Project setup Replaces a missing file with a temporary offline clip for the duration of a session. When you close your project Skip and then reopen it, you see a dialog box that asks you to locate the file or allows you to skip it again.
Page 60: Trim Or Copy Your Project
Note: Project Manager retains any effect keyframes and clip markers that exist beyond the In and Out points of a trimmed clip. Online Resources See this excerpt from Adobe Premiere Pro CS5 Classroom in a Book which explains managing assets in a project, including using the Project Manager.
Page 61 Collect Files and Copy to New Location Note: Project Manager does not copy and collect After Effects compositions that are dynamically linked to an Adobe Premiere Pro project. Project Manager does save the Dynamic Link clip in the trimmed project as an offline clip, however.
Page 62 USING ADOBE PREMIERE PRO Project setup Note: If you rename captured clips, and then select the Make Offline option, the subsequent copied project retains and displays the original filename, not the new name. Designates where Project Manager saves the files you specified. Click Browse to navigate to a Project Destination location other than the default.
Page 63: Chapter 5: Importing, Transferring, Capturing, And Digitizing
AVC-Intra, AVCHD, HDV, MPEG-2, MPEG-2 DVD, MPEG-2 Blu-ray, and XDCAM. The trial version for Adobe Premiere Pro CS5.5 and later does not have the limitations that Premiere Pro CS5 has. It includes all sequence presets, editing modes, encoders, and decoders that are included in the full, activated version of Premiere Pro CS5.5 and later.
Page 64 Premiere Pro Work Area blog for more information. • Adobe Premiere Pro CS5.5 and later includes several additions and improvements to source settings for RED Digital Cinema (R3D) files, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels user interface. For a summary of these new and changed features for RED (R3D) footage, as well as improvements made in the Premiere Pro CS5 (5.0.2) update, including RMD and Red Rocket...
Page 65 Supported audio file formats • AAC • AC3 (including 5.1 surround) • AIFF, AIF • ASND (Adobe Sound Document) • AVI (Video for Windows) • BWF (Broadcast WAVE format, Premiere Pro CS5 (5.0.2) and later) • M4A (MPEG-4 Audio) • mp3 (mp3 Audio) •...
Page 66 • AEP, AEPX (After Effects project) • CSV, PBL, TXT, TAB (batch lists) • EDL (CMX3600 EDLs) • PLB (Adobe Premiere 6.x bin) (Windows only) • PREL (Adobe Premiere Elements project) (Windows only) • PRPROJ (Premiere Pro project) • PSQ (Adobe Premiere 6.x storyboard) (Windows only) •...
Page 67 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Transfer video files from file-based media into the same folder you specify for captured video with the project scratch disk settings. The folder structure for AVCHD assets The folder structure for DVCPRO HD assets...
Page 68 In Premiere Pro, you can import files by using the Media Browser or the Import command. You can also place files into Premiere Pro from Adobe Bridge. Premiere Pro indexes certain types of files and transcodes others after importing them. You cannot edit these types fully until these processes are completed.
Page 69 More Help topics “Import files using Adobe Bridge” on page 64 Import files using Adobe Bridge You can import files into Premiere Pro from Adobe Bridge. More Help topics About Adobe Bridge CS5 Start Adobe Bridge from Adobe Premiere Pro For a video on using Adobe Bridge, see www.adobe.com/go/vid0090.
Page 70: Importing Assets From Tapeless Formats
Importing, transferring, capturing, and digitizing 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. 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.
Page 71 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Note: Premiere Pro does not support proxies recorded by some Panasonic P2 camcorders in P2 card PROXY folders. For your computer to read P2 cards, it needs the appropriate driver, which you can download from the Panasonic website.
Page 72: Importing Still Images
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...
Page 73 Importing Photoshop and Illustrator files You can import files from Adobe Photoshop 3.0 or later, or from Adobe Illustrator. You can control how layered files are imported. Empty (transparent) areas of nonflattened files are transparent when imported into Premiere Pro, because the transparency is stored as an alpha channel.
Page 74 Importing Illustrator images You can import an Adobe Illustrator still-image file directly into a Premiere Pro project. Premiere Pro converts path- based Illustrator art into the pixel-based image format used by Premiere Pro, a process known as rasterization.
Page 75: Importing Digital Audio
USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Even though the layers in Illustrator are merged in Premiere Pro you can edit the layers by selecting the clip and choosing Edit > Edit Original. Import numbered still-image sequences as video clips You can import an animation contained in a single file, such as an animated GIF.
Page 76 Using audio from Adobe Soundbooth You can use Adobe® Soundbooth™ to perform advanced audio editing. If you export the audio from Adobe Soundbooth to an audio file format compatible with Premiere Pro, you can import the audio into Premiere Pro projects.
Page 77: Importing Sequences, Clip Lists, Libraries, And Compositions
Import clips from Adobe OnLocation projects using the Media Browser In Adobe OnLocation, you can set In and Out points on clips. When you import a clip from an Adobe OnLocation project using the Media Browser, Premiere Pro retains these In and Out markers. You can mark the good segments of clips in Adobe OnLocation, and select only the good segments for importing into Premiere Pro.
Page 78 Importing libraries (Windows only) Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file. Although Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files, in Windows only.
Page 79: Importing Xml Project Files From Final Cut Pro
Premium, or Adobe Creative Suite Master Collection installed, you can create or import After Effects compositions by using Adobe Dynamic Link. You can also select clips in a Premiere Pro timeline and replace them with an After Effects composition via Adobe Dynamic Link. Adobe Dynamic Link allows changes made to a file in either application to appear in both, instantaneously, without a need for rendering.
Page 80 AdobeTV. Information about reading errors in the Translation Report is included. Additional resources about importing Final Cut Pro projects are linked to from this article on the Adobe website. More Help topics “Export a Final Cut Pro project XML file”...
Page 81 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Conversion of Final Cut Pro video effects Final Cut Pro Premiere Pro effect effect Crop Crop Eight-Point Eight-Point Garbage Matte Garbage Matte Four-Point Four-Point Garbage Matte Garbage Matte Gaussian Blur Gaussian Blur...
Page 82 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Conversion of Final Cut Pro audio transitions Final Cut Pro Premiere Pro audio transition audio transition Cross Fade Constant Gain (0 dB) Cross Fade Constant Power (+3 dB) Other Constant Power...
Page 83: Capturing And Digitizing
Premiere Pro saves captured footage to disk as files, and imports the files into projects as clips. You can use Adobe After Effects to start Premiere Pro and start the capture process. Alternatively, you can use Adobe OnLocation to capture video.
Page 84 Capture panel. You must cue, start, and stop your source device using its controls. Note: When not capturing in Adobe Premiere Pro, close the Capture panel. The Capture panel assumes primary focus, so leaving it open while editing or previewing video disables output to the source device. Leaving the Capture panel open also may decrease performance.
Page 85 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Specify capture settings With a project open, choose File > Capture, and select the Settings tab. In the Capture Settings pane, click Edit. In the Capture Settings dialog box, select an option from the Capture Format menu.
Page 86 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Set up device control You can use device control to manage and automate video capture and to export sequences to tape. Device control lets you precisely control devices, such as decks and camcorders, with capture and batch capture controls. With device control, you can use the Capture panel to log each clip and then use the Batch Capture command to record logged clips automatically.
Page 87 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Set up a device for device control Premiere Pro supports the control of devices such as camcorders and VTRs. Premiere Pro controls DV and HDV devices by way of IEEE 1394 (FireWire, i.Link) connections. Premiere Pro controls serially-controlled devices by way of third-party RS-232 or RS-422 controllers installed on the computer.
Page 88 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing (DV/HDV Device Control only) Click Check Status. Premiere Pro displays one of the following statuses: Premiere Pro does not see your device. Check all your connections and settings. Offline Premiere Pro sees your device but cannot control the tape (possibly because there is no tape inserted).
Page 89 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing To operate Capture panel controls using the keyboard, see the tool tips in the Capture panel. You can change the shortcuts by choosing Edit > Keyboard Customization. To shuttle a tape quickly to a specific frame type its timecode into the Capture Panel’s current timecode field, to the lower left of the monitor.
Page 90 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Note: When capturing with In and Out points, the earliest allowable time for the In point is 2 seconds. If the provided In point is earlier, it will be automatically adjusted to start at 2 seconds.
Page 91 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing If you want to capture frames that extend beyond the In and Out points of each clip, enter the number of frames in the Handles setting of the Capture section. Click the In/Out button in the Capture area of the Logging pane to capture the clip.
Page 92 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Scene Detect starts a separate file (Windows) or subclip (Mac OS) at the first frame of each scene Note: Scene detection works for DV, HDV 1080i, and HDV 720p footage. Common capture issues If you run into problems while capturing digital footage, refer to Premiere Pro Help or the documentation for your camera, deck, or capture card.
Page 93: Capturing Dv Or Hdv Video
USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing • When shuttling, logging, and capturing HDV footage on Mac OS, the preview pane in the Capture panel will remain blank. You must preview this footage on an external TV monitor or, when the source device is a camcorder, on its viewfinder.
Page 94: Create Clips For Offline Editing
In the Project panel, click the New Bin button, and name a bin for your low-resolution clips. Launch Adobe Media Encoder, and add all the clips for your project to the Adobe Media Encoder Queue. In Adobe Media Encoder, click Settings.
Page 95: Digitizing Analog Video
Note: When creating low-resolution clips for offline editing with Adobe Media Encoder, clips with two audio channels are created even if you have four or more audio channels on your footage. This problem is a limitation of Adobe Media Encoder, so use an alternate tool if the other audio channels are to be preserved.
Page 96: Capturing Content For Dvd
USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Digitize analog video Exit from Premiere Pro. Connect the analog device’s video and audio outputs to the digital device’s (digitizer, digital camcorder or digital deck) analog inputs. If the digital device is an external digitizer, deck, or camcorder, connect its FireWire or SDI port to the computer’s.
Page 97: Batch Capturing And Recapturing
USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing For best results, make sure that you capture or record according to these specifications: NTSC standard 720x480 or PAL standard 720x576. If your project uses a different frame size, Premiere Pro Frame size scales it automatically.
Page 98 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing 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.
Page 99 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing • The Clip Name in the Clip Data section progresses in numerical increments automatically. For example, if you want to number a series of clips with clip names starting with Car Chase, enter “Car Chase 01,” making sure that the clip name ends with the number.
Page 100 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing More Help topics “Set up device control” on page 81 Choosing batch-capture settings A batch list of logged clips appears as a list of offline clips in the Project panel. If you plan to capture many clips, you may want to create bins in the Project panel in advance so that you can log each set of offline clips directly into its own bin.
Page 101 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Batch capture clips Select the offline clips that you want to capture, and then choose File > Batch Capture. In the Batch Capture dialog box, do any of the following: • Choose Capture With Handles and enter the number of frames for the handles if you want to capture frames beyond the In and Out points identified for each clip in the batch.
Page 102 Notepad or in a spreadsheet application. A batch list text file may come from sources such as Adobe Premiere 6.5, logging utilities such as Pipeline Autolog, or custom video-production software that uses a database or spreadsheet program to generate a batch list.
Page 103: Working With Timecode
USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Working with timecode About timecode Many camcorders and high-end video decks record timecode, which marks specific frames with unique addresses. Timecode is important whenever you want to capture exactly the same frames that were identified or captured previously, as in the following tasks: •...
Page 104 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Starts timecode shown for every clip at 00:00:00:00. Start At 00:00:00:00 In the Frame Count menu, choose one of the following: Numbers every frame sequentially, with the first frame numbered 0.
Page 105 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Before you record video on a striped tape, play about 30 seconds of it from the beginning. Verify that the camcorder is reading the timecode you striped before you start shooting. The 30-second empty lead on the tape also helps in batch capturing.
Page 106 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Enter timecode As you capture and edit video, you enter timecode values many times. For example, you enter timecode values to set In and Out points for clips and to navigate a Timeline panel. Premiere Pro provides many ways to enter timecode.
Page 107 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing 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.
Page 108: Chapter 6: Managing Assets
Chapter 6: Managing assets Customizing the Project panel For information about the Project Panel, see this series of 4 video tutorials by Andrew Devis on the Creative Cow website: • Project Panel: Organizing, Automating and Searching • Project Panel: New Items and Templates •...
Page 109 Then, check the 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.
Page 110 USING ADOBE PREMIERE PRO Managing assets Color that helps identify and associate assets. Label Length of the source file, expressed in the currently specified Display option. Media Duration Note: In Premiere Pro, all durations in any panel include the frames specified by the In point and Out point. For example, setting the In point and Out point to the same frame results in a duration of one frame.
Page 111: Organizing Assets In The Project Panel
USING ADOBE PREMIERE PRO Managing assets Organizing assets in the Project panel Work with bins The Project panel can include bins, which you can use to organize project contents in much the same way as folders in Windows® Explorer or Mac OS® Finder. Bins can contain source files, sequences, and other bins. You may want to use bins in the following ways: •...
Page 112 USING ADOBE PREMIERE PRO Managing assets • To open a bin in a new tab, Alt-double-click (Windows) or Option-double-click (Mac OS) the bin. Double-click to open a bin in its own dockable panel. More Help topics Creative COW: Enhanced Bins In Premiere Pro CS3 “Find and group...
Page 113 USING ADOBE PREMIERE PRO Managing assets Rename assets All files in your project are stored on your hard disk as individual files. Only a reference to each file is added to the Project panel in Premiere Pro. Whenever you rename a clip in Premiere Pro, the original file and filename remain untouched on your hard disk.
Page 114 USING ADOBE PREMIERE PRO Managing assets 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. The suggestions include any misspellings present in clip metadata. This feature allows you to find errors and correct them.
Page 115 Check Face Detection. Choose from High, Medium, or Low quality (High gives the best results, while Low is fastest), and then click OK. Adobe Media Encoder opens with the selected clips in its encoding queue, and analyzes the selected clips. A green checkmark appears in the Status column for each clip that has been analyzed.
Page 116 USING ADOBE PREMIERE PRO Managing assets You can also set the poster frame by right-clicking (Windows) or Control-clicking (Mac OS) the thumbnail viewer and choosing Set Poster Frame. Edit cells in the Project panel You can edit the data in the editable cells, whether for clip properties or XMP metadata, for any clip in the Project panel.
Page 117: Managing Metadata
This sharing of metadata lets you quickly track and manage video assets as they move through your production workflow. Note: Properties in the Metadata panel also appear in Adobe Bridge, providing additional details that help you quickly browse assets.
Page 118 About the XMP standard Adobe applications store metadata using the Extensible Metadata Platform (XMP). XMP is built on XML, which facilitates the exchange of metadata across a variety of applications and publishing workflows. Metadata in most other formats (such as Exif, GPS, and TIFF) automatically transfers to XMP so you can more easily view and manage it.
Page 119 Displays properties for source files you select in the Project panel. (If you select a proxy, properties for the Files actual file appear.) ForAfter Effects, both Project and File properties are stored directly in files, so you can access this metadata in Adobe Bridge. Separates metadata in these sections: Soundbooth •...
Page 120 To exit the search mode and return to the full list of metadata, click the close button to the right of the search box. Metadata panel A. Before search, all properties appear B. After search, only properties with search string appear. In Adobe Premiere Pro, Previous and Next buttons navigate through search results. Last updated 1/16/2012...
Page 121 USING ADOBE PREMIERE PRO Managing assets Show or hide XMP metadata To optimize the Metadata panel for your workflow, show or hide entire schemas or individual properties, displaying only those that you need. From the options menu for the Metadata panel, select Metadata Display.
Page 122: Working With Aspect Ratios
USING ADOBE PREMIERE PRO Managing assets • Check only the boxes near the names of the clip information fields you want to display. Click OK. Link clip data to XMP metadata In the Metadata panel, the Clip property value fields are internal. They reside in the Premiere Pro project file, and are readable by Premiere Pro alone.
Page 123 USING ADOBE PREMIERE PRO Managing assets A 4:3 frame aspect ratio (left), and wider 16:9 frame aspect ratio (right) When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you decide how to reconcile the different values.
Page 124 USING ADOBE PREMIERE PRO Managing assets Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. Pixel aspect ratios vary because different video systems make various assumptions about the number of pixels required to fill a frame. For example, many computer video standards define a 4:3 aspect ratio frame as 640 pixels wide by 480 pixels high, which results in square pixels.
Page 125 USING ADOBE PREMIERE PRO Managing assets When you capture or import NTSC footage with the ATSC frame size of 704x480, the D1 frame size of 720x486, or the DV frame size of 720x480, Premiere Pro automatically sets the pixel aspect ratio for that asset to D1/DV NTSC (0.91).
Page 126 USING ADOBE PREMIERE PRO Managing assets Correct recurring aspect ratio misinterpretations Premiere Pro automatically assigns pixel aspect ratios to files according to a file of rules. If a specific type of image is consistently misinterpreted (distorted) when you import it, you can change the relevant rule.
Page 127: Chapter 7: Monitoring Assets
Chapter 7: Monitoring assets Using the Source Monitor and Program Monitor Online resources for the Source Monitor and Program Monitor Andrew Devis gives an overview of editing and viewing assets in the Source monitor in this video tutorial on the Creative Cow website.
Page 128 USING ADOBE PREMIERE PRO Monitoring assets Do one of the following: • To set playback resolution, select Playback Resolution, • To set paused resolution, select Paused Resolution. From the menu, select the resolution desired. For an explanation and tips on speeding up previews in Premiere Pro, see this video on the Video2Brain website.
Page 129 USING ADOBE PREMIERE PRO Monitoring assets Choosing a clip to view from the Source menu To clear a clip from the Source Monitor, in the Source menu, choose Close to clear or Close All to clear all clips. You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab.
Page 130 USING ADOBE PREMIERE PRO Monitoring assets to display timecode in other formats. Each ruler also displays icons for its corresponding monitor’s markers and In and Out points. You can adjust the current time, markers, and the In and Out points by dragging their icons in a time ruler.
Page 131 USING ADOBE PREMIERE PRO Monitoring assets The standard action- and title-safe margins are 10% and 20%, respectively. However, you can change the dimensions of the safe zones in the Project Settings dialog box. (See “Project Settings dialog box” on page 52.)
Page 132: Playing Assets
USING ADOBE PREMIERE PRO Monitoring assets Playing assets Play video in the Source Monitor and Program Monitor The Source Monitor and Program Monitor contain several controls that resemble the playback controls on a video deck. Use the Source Monitor controls to play or cue a clip. Use the Program Monitor controls to play or view the active sequence.
Page 133 USING ADOBE PREMIERE PRO Monitoring assets More Help topics “Specify the duration for preroll and postroll pauses” on page 47 Jog or shuttle playback ❖ Do one of the following: • Drag the shuttle slider left to play backward, or right to play forward. Playback speed increases as you drag the slider farther from its center position.
Page 134: Using The Waveform Monitors And Vectorscope
Source Monitor before typing the Match Frame or Reveal Nested Sequence keyboard shortcut. Do one of the following: • For a clip in a standard sequence, type the keyboard shortcut for Match Frame, M by default. In Adobe Premiere Pro CS5.5 and later, you can also choose Sequence > Match Frame.
Page 135 Jeff Sengstack explains how to work with the YC Waveform Monitor and the Vectorscope in his article, “Streamlining Color Correction in Premiere Pro” on the Pro Video Coalition website. Maxim Jago introduces the Waveform Monitor for color adjustments in Adobe Premire Pro in this video on the video2brain website.
Page 136 The YC Waveform also displays chrominance information as a blue waveform. The chrominance information is overlaid upon the luminance waveform. You can specify whether the YC Waveform displays both luminance and chrominance information, or just luminance information. For a video on reading a waveform monitor, see www.adobe.com/go/vid0238. Last updated 1/16/2012...
Page 137 USING ADOBE PREMIERE PRO Monitoring assets YC Waveform with the chroma control enabled A. IRE units B. Luminance (green) waveform C. Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Adjusts the brightness of the waveform display. It does not affect the video output signal.
Page 138: Using The Reference Monitor
USING ADOBE PREMIERE PRO Monitoring assets RGB Parade The RGB Parade scope displays waveforms representing the levels of the red, green, and blue channels in a clip. The waveforms appear in a graph one after another, in parade fashion. This scope is useful for viewing the distribution of the color components in a clip.
Page 139 USING ADOBE PREMIERE PRO Monitoring assets You can specify the Reference Monitor’s quality setting, magnification, and viewing mode just as you would in the Program Monitor. Its time ruler and viewing area bar also work the same. But because it’s for your reference and not for editing per se, the Reference Monitor contains controls for cueing to frames, not for playback or editing.
Page 140: Chapter 8: Editing Sequences And Clips
The default scale to sequence size function is also discussed. This chapter from the “Adobe Premiere Pro Classroom in a Book” explains how to set up projects, sequences, and preferences when getting started with Premiere Pro. Tracy Peterson provides a video tutorial that demonstrates several editing improvements in Premiere Pro CS5 on the Adobe website.
Page 141 USING ADOBE PREMIERE PRO Editing sequences and clips Timeline panels 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.
Page 142 USING ADOBE PREMIERE PRO Editing sequences and clips Time navigation controls in a Timeline panel A. Current-time display B. Play head and current-time indicator C. Work area bar D. Viewing area bar E. Time ruler F. Source track indicators G. Zoom out H. Zoom slider I. Zoom in Measures sequence time horizontally.
Page 143 USING ADOBE PREMIERE PRO Editing sequences and clips • Press the Left or Right Arrow key to move the current-time indicator in the direction you want. Press Shift while pressing the arrow keys to move in increments of five frames.
Page 144: Add Tracks
USING ADOBE PREMIERE PRO Editing sequences and clips More Help topics “Fixed effects” on page 274 Add tracks New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Project panel.
Page 145 USING ADOBE PREMIERE PRO Editing sequences and clips • To enable Sync Lock for all tracks of a particular type, video or audio, Shift-click the Toggle Sync Lock box at the head of any track of that type. The Sync Lock icon will appear in the box, and Sync Lock will be enabled for those tracks.
Page 146 USING ADOBE PREMIERE PRO Editing sequences and clips Set track display You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track.
Page 147 • select a preset with most settings matching the parameters of the assets you want to edit, then select the General tab (called the “Settings” tab in Adobe Premiere Pro CS5.5 and later), and customize the preset so that its settings match the asset parameters exactly, •...
Page 148 • Choose File > New > Sequence from Clip. Note: When a merged clip is used to create a new Sequence from Clip (in Adobe Premiere Pro CS5.5 and later), there may be empty stereo audio tracks, depending on the media format. You may delete these empty stereo audio tracks, if you wish.
Page 149 USING ADOBE PREMIERE PRO Editing sequences and clips For more information about international television standards, see the video tutorial, lynda.com Digital Video Principles - Video standards. Note: A number of sequence presets are excluded from the trial version of Premiere Pro. See “Premiere Pro trial...
Page 150 USING ADOBE PREMIERE PRO Editing sequences and clips Specifies the field order, or which field of each frame is drawn first. If you work with progressive-scan video, Fields select No Fields (Progressive Scan). Many capture cards capture fields regardless of whether the source footage was shot with progressive scan.
Page 151 If your project contains high-bit-depth assets generated by programs such as Adobe Photoshop, or by high-definition camcorders, select Maximum Bit Depth. Premiere Pro then uses of all the color information in those assets when processing effects or generating preview files.
Page 152 USING ADOBE PREMIERE PRO Editing sequences and clips Selecting a sequence preset To ensure that a sequence is created to match the characteristics of an asset, drag the asset in the Project panel to the New Item button at the bottom of the Project panel. This prevents many mistakes that are made when entering sequence settings incorrectly or choosing the wrong sequence preset.
Page 153 USING ADOBE PREMIERE PRO Editing sequences and clips In the Sequence Presets tab of the New Sequence dialog box, select the preset that most closely matches your video footage or the requirements of your capture card. Note: If you plan to create a custom sequence with Desktop (CS5) or Custom (CS5.5 and later) settings (accessed in the Editing Mode drop-down list), there is no need to select a preset before clicking the General (CS5) or Settings (CS5.5 and...
Page 154 USING ADOBE PREMIERE PRO Editing sequences and clips • For an HD project, select one of the presets provided with your HD capture card. Enter a name in the Sequence Name field and click OK. More Help topics “Change sequence settings”...
Page 155 USING ADOBE PREMIERE PRO Editing sequences and clips Create a sequence with uncompressed video playback For the highest quality previews of sequences on an SDI card or device connected to an external monitor, you should use one of the uncompressed formats for preview files. Uncompressed 8-bit (4:2:2 YUV) is particularly suitable for projects meant for SD output, while Uncompressed 10-bit (4:2:2 YUV) is best for projects meant for HD.
Page 156 DVD players and TV monitors that support 24p formats. You can use the Adobe Media Encoder to export a 24p movie from Premiere Pro to Adobe Encore. You can open it in Encore, author your DVD, then master and burn the project as a 24p MPEG-2 stream. The resulting DVD exhibits no interlacing artifacts on 480p-capable (progressive-scan-capable) DVD players and televisions.
Page 157 USING ADOBE PREMIERE PRO Editing sequences and clips The phase of 3:2 pulldown refers to the point at which the two split-field frames fall within the first five frames of the footage. Phase occurs as a result of two conversions that happen during 3:2 pulldown: 24-fps film is redistributed through 30-fps video, so each of four frames of 24-fps film is spread out over five frames of 30 (29.97)-fps video.
Page 158 USING ADOBE PREMIERE PRO Editing sequences and clips Click Playback Settings. In the 24p Conversion Method pane, select one of the following options: Duplicates frames where necessary to maintain 29.97 fps playback. This option uses fewer Repeat Frame (ABBCD) CPU resources.
Page 159 When you are done editing your movie, use Adobe Media Encoder to encode it with the audio and video characteristics correct for the target devices.
Page 160 Creative COW website for “Understanding Nesting: A key to Efficient Editing” by Andrew Devis. Maxim Jago explains nested sequences in this video from “Getting Started with Adobe Premiere Pro CS5” on the Video2Brain website. Maxim Jago explains and demonstrates nesting sequences in this video from “Adobe Premiere Pro CS5: Learn by...
Page 161 Video2Brain. See this post on the Premiere Pro Work Area blog for more information about closed caption data and Premiere Pro. More Help topics Closed captioning basics (Adobe Encore Help) Closed captioning on Wikipedia Last updated 1/16/2012...
Page 162: Editing Multi-Camera Sequences
For a tutorial on how to synchronize and switch between multiple cameras, see www.adobe.com/go/learn_dv_tutorial_multicam_en. For a video tutorial on multi-camera editing, see www.adobe.com/go/vid0234. Eddie Lotter provides a collection of tutorials and articles about multi-camera editing on the Premiere Pro Wiki website.
Page 163 USING ADOBE PREMIERE PRO Editing sequences and clips About the Multi-Camera Monitor The Multi-Camera Monitor plays the footage from each camera and a preview of the final edited sequence. When you record the final sequence, 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.
Page 164 USING ADOBE PREMIERE PRO Editing sequences and clips Choose Clip > Synchronize, and then choose one of the following options: Synchronizes clips at their In points. Clip Start Synchronizes clips at their Out points. Clip End Synchronizes clips to the specified timecode. If you use the hours value in source timecode as a camera Timecode designator, select the Ignore Hours option to use only minutes, seconds, and frames to synchronize clips.
Page 165 USING ADOBE PREMIERE PRO Editing sequences and clips 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.
Page 166: Creating And Playing Clips
USING ADOBE PREMIERE PRO Editing sequences and clips • Use any of the standard editing tools to make changes in a Timeline panel. • Place the current-time indicator at the place in a Timeline where you want to replace a clip from one camera with a clip from another.
Page 167: Creating Subclips
USING ADOBE PREMIERE PRO Editing sequences and clips For more details, see Andrew Devis’ tutorial, “Subclips: What? Why? How?” See also Andrew Devis’ tutorials, “Understanding the Source Panel tools.” More Help topics “Using clip metadata and file metadata” on page 114 Duplicate a clip In the Project panel, select a clip, and choose Edit >...
Page 168 USING ADOBE PREMIERE PRO Editing sequences and clips In the Source Monitor, set In and Out points for the subclip. Either or both the In point and Out point must differ from the source clip In point and Out point.
Page 169: Synchronizing Audio And Video With Merge Clips (Cs5.5 And Later)
Premiere Pro work area. Luica Winters shows you how to use the new Merge Clips feature in Adobe Premiere Pro CS5.5 and later in this video tutorial. You’ll learn how to synch audio and video ingested from different sources, as in professional DSLR-based production.
Page 170 USING ADOBE PREMIERE PRO Editing sequences and clips Click OK. Your merged clip will now appear in the Project panel, with a name that matches the video clip, or the top- most selected audio clip (based on current sort order in the bin) if there is no video. “- Merged” is appended to the end of the new merged clip’s name.
Page 171 • Attaching Adobe Story scripts, and then analyzing speech to text is not supported. Note: If you attach an Adobe Story script to an audio clip prior to merging, then you can analyze speech to text after merging them. Select either “All Files,” or the audio clip containing the script from the File pop-up menu in the Metadata panel, and then click the Analyze button.
Page 172: Working With Offline Clips
• Auto-sync using audio waveforms, free-run timecode, time-of-day timecode, AUX timecode, or separate audio timecode is not supported. • Reveal in Adobe Bridge is not supported. • Once created, the merged clip cannot be re-synchronized, or adjusted. You must make a new merged clip.
Page 173 USING ADOBE PREMIERE PRO Editing sequences and clips For File Name, type the name of the file as you want it to appear on disk when you capture it using Premiere Pro. If you’re creating an offline clip for a source file that is captured but isn’t on your computer yet, type the name of that file.
Page 174: Modifying Clip Properties With Interpret Footage
USING ADOBE PREMIERE PRO Editing sequences and clips Note: If you selected more than one offline clip, the Link Media To dialog box appears in turn for each clip you selected. The title bar of the dialog box gives the filename for each offline clip. Relink the correct source file to each offline clip. If all of the offline clips selected point to media in the same folder, the Link MediaTo dialog asks for the first file, then links the selected offline clips to all the files in the same folder as the file selected.
Page 175: Creating Special Clips (Synthetics)
USING ADOBE PREMIERE PRO Editing sequences and clips Creating special clips (synthetics) Franklin McMahon created this video tutorial on synthetic media: transparent video, color bars and tone, and color matte on the Layers Magazine website. Create a counting leader (Windows only) If you plan to create film output from a sequence, you may want to add a counting leader.
Page 176 Timecode effect or the Lightning effect. Think of Transparent Video as “Clear Matte.” Eran Stern explains the purpose and use of transparent video clips in Adobe Premiere Pro in this video.
Page 177: Adding Clips To Sequences
USING ADOBE PREMIERE PRO Editing sequences and clips From the Project panel, drag the transparent video clip to the highest track in a sequence, stretch it as far as you want, and apply an effect to it. Some third-party lens flares and other effects that carry an alpha channel work with transparent video.
Page 178 USING ADOBE PREMIERE PRO Editing sequences and clips 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.
Page 179 USING ADOBE PREMIERE PRO Editing sequences and clips 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.
Page 180 Frank Rohmer provides a video tutorial on the Adobe website that explains mapping source tracks to target tracks. Drag video and audio to a sequence By default, when dropped into a sequence, the video and audio components of linked clips appear in corresponding tracks (for example, Video 1 and Audio 1), unless the audio channel type of the clip is incompatible with the target track.
Page 181 USING ADOBE PREMIERE PRO Editing sequences and clips • (Roman keyboards only) To zoom into or out of a clip as you drop it into a Timeline panel, drag and press the equal sign key (=) to increase the zoom factor or press the minus sign key (–) to decrease it. Do not use the keys on the number pad.
Page 182 USING ADOBE PREMIERE PRO Editing sequences and clips Insert a clip into a sequence Double-click a clip in a Project panel or sequence to open it in the Source Monitor. Place the current-time indicator at the point in the sequence where you want to insert the clip.
Page 183 Insert or Overwrite by dragging a clip to the Program panel In Adobe Premiere Pro CS5.5 and later, you can select and drag a clip from the Project panel, Source panel, or Media Browser into the Program monitor. When doing so, an overlay appears in monitor to provide a visual depiction of Overwrite versus Insert edits.
Page 184 USING ADOBE PREMIERE PRO Editing sequences and clips In the Timeline, drag the source track indicators to the headers of the tracks into which you want the clip components to fall. In the Source and Program Monitors, mark any combination of three In and Out points.
Page 185 Ignore Audio Ignores the video in clips selected to be automated to the sequence. Ignore Video The Adobe Tutorials website has this article has this article about the Automate to Sequence command and storyboard style editing called "Edit Storyboard Style.”...
Page 186 USING ADOBE PREMIERE PRO Editing sequences and clips A render bar will appear above any clip in a Timeline panel with attributes not matching the sequence settings. The render bar indicates that those clips will have to be rendered before final output. However, it doesn't necessarily indicate these clips can't be previewed in real-time.
Page 187: Trimming Clips
Layers Magazine website. This chapter from the “Adobe Premiere Pro CS5 Classroom in a Book” introduces the more advanced editing tools, including tools for rolling, ripple, slip, slide, lift, and extract edits. Last updated 1/16/2012...
Page 188 USING ADOBE PREMIERE PRO Editing sequences and clips For more information about trimming clips, see this excerpt from An Editor's Guide to Premiere Pro by Richard Harrington, Robbie Carman and Jeff Greenberg. Working with In and Out points Setting a clip’s In and Out points is a process called trimming. You define the first frame you want to include in a sequence by marking that frame as the clip’s In point.
Page 189 USING ADOBE PREMIERE PRO Editing sequences and clips 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. Trim in the Source Monitor The Source Monitor panel holds versatile tools for trimming clips.
Page 190 USING ADOBE PREMIERE PRO Editing sequences and clips Dragging the In/Out Grip for a video clip or track • For an audio clip, drag the grey area between the In point and Out point above the waveform to the left or right.
Page 191 USING ADOBE PREMIERE PRO Editing sequences and clips Trim with Trim-in and Trim-out tools You can change a clip’s In point or Out point by dragging its edge in a Timeline panel. As you drag, the current In or Out point appears in the Program Monitor. A tool tip displays the number of frames that you are trimming: a negative value if you are dragging the edge toward the beginning of the sequence and a positive number if you are dragging toward the end of the sequence.
Page 192 USING ADOBE PREMIERE PRO Editing sequences and clips Set In and Out Points with the current-time indicator Click the track head, in the area near the track title, of one or more tracks containing the clip or clips you want to trim.
Page 193 USING ADOBE PREMIERE PRO Editing sequences and clips Program Monitor and Timeline during a rolling edit Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence.
Page 194 USING ADOBE PREMIERE PRO Editing sequences and clips Timeline panel during (above) and after (below) a rolling edit Make a rolling edit using the Trim Monitor In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit.
Page 195 USING ADOBE PREMIERE PRO Editing sequences and clips In Premiere Pro CS5.5 and later, the names of the commands have been renamed to match the common industry nomenclature, from “Roll Previous/Next Edit to CTI” to “Extend Previous/Next Edit to the Playhead”. The extend edit commands are also in the Sequence menu by default.
Page 196 USING ADOBE PREMIERE PRO Editing sequences and clips Make a ripple edit using the Trim Monitor In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. Click in the Sync Lock box in the header of any track you want to shift when the ripple edit is made.
Page 197 USING ADOBE PREMIERE PRO Editing sequences and clips Make a slip edit A slip edit shifts a clip’s In and Out points forward or backward by the same number of frames in a single action. By dragging with the Slip tool, you can change a clip’s starting and ending frames without changing its duration or affecting adjacent clips.
Page 198 When you press the T key or invoke the menu command to open the Trim Monitor, the nearest edit will be selected and the panel opens at the same time. • To open the Trim Monitor in Adobe Premiere Pro CS5.5 and later, select Sequence > Trim Edit. • To close the Trim Monitor, click the close box of the Trim Monitor.
Page 199: Working With Clips In A Sequence
Analyze speech for text XMP metadata Adobe Premiere Pro and Soundbooth analyze spoken words and generate text metadata. You can edit and search text metadata like any other metadata properties. You can then navigate to the times at which specific words are spoken, to better align edits, advertising, and subtitles.
Page 200 Soundbooth to accomplish a similar result. For more information, see the video tutorial Using Speech Search to Speed Editing. For a video demonstrating the use of script (screenplay) information from Adobe Story to improve the accuracy of speech analysis, see the Adobe website.
Page 201 Note: To make reference scripts available in Soundbooth, first complete the steps below in Adobe Premiere Pro. From the Reference Script menu in the Analyze Content dialog box, choose Add.
Page 202: Select One Or More Clips
To find and fix more errors, you can make side-by-side comparisons of the text of the Adobe Story script with the text of the speech analysis. If a clip has a Story script attached to it, the script is displayed in the Embedded Adobe Story Script view in the Speech Analysis section of the Metadata panel.
Page 203 USING ADOBE PREMIERE PRO Editing sequences and clips • To select multiple clips by clicking, use the Selection tool and Shift-click each clip you want to select. (Shift-click a selected clip to deselect it.) • To select a range of clips, click in an empty area of the sequence under the time ruler, and then drag a rectangle (marquee selection) that includes any part of the clips you want to select.
Page 204: Rearranging Clips In A Sequence
USING ADOBE PREMIERE PRO Editing sequences and clips You can trim the exterior edges of the group (the head of the first clip in a group or the tail of the last clip), but you can’t trim any of the interior In and Out points.
Page 205 USING ADOBE PREMIERE PRO Editing sequences and clips Move clips in a Timeline panel You can drag a clip and place it in an empty spot or snap it to another clip. You can also insert and overwrite clips that you move.
Page 206 USING ADOBE PREMIERE PRO Editing sequences and clips Move clips to a different track ❖ Drag the audio portion or video portion of a clip up or down into the track you want. Only the portion of the clip you drag will move into a new track.
Page 207 USING ADOBE PREMIERE PRO Editing sequences and clips In the Timeline, click the headers of the tracks from which you want to lift frames to target them. In the Program Monitor, click the Lift button The frames that are lifted are placed on the system clipboard.
Page 208 USING ADOBE PREMIERE PRO Editing sequences and clips Delete gaps between clips When you delete space between clips in a Timeline, all clips in all unlocked tracks shift according to the duration of the gap. To prevent a track from shifting during a ripple delete (or any insert or extract edit), lock the track.
Page 209: Rendering And Previewing Sequences
USING ADOBE PREMIERE PRO Editing sequences and clips The clip or clips are pasted into the sequence, and the current-time indicator jumps to the end of the pasted clip or clips. More Help topics “Targeting tracks” on page 173 “Copy and paste clip effects”...
Page 210 USING ADOBE PREMIERE PRO Editing sequences and clips More Help topics “Change sequence settings” on page 148 “Source Monitor and Program Monitor overview” on page 122 Define the work area for rendering ❖ Do any of the following: • Drag the work area bar over the section you want to preview. Make sure that you drag the work area bar from its textured center;...
Page 211 Note: Adobe Media Encoder does not automatically use Premiere Pro preview files for encoding. To make use of the Premiere Pro preview files, you must select the Use Previews option in Adobe Media Encoder for each encoding process.
Page 212 USING ADOBE PREMIERE PRO Editing sequences and clips More Help topics “Change sequence preview resolution settings” on page 148 “Specify scratch disks to improve system performance” on page 47 Use preview files when rendering ❖ In the Export Settings dialog box, check Use Previews.
Page 213 In the Media section of the Preferences dialog box (or the Metadata section for Soundbooth), select Write XMP IDs To Files On Import. This setting is global—a change in one Adobe video application affects all the others. This setting also results in new file modification dates when IDs are initially inserted.
Page 214: Correcting Mistakes
USING ADOBE PREMIERE PRO Editing sequences and clips Correcting mistakes 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.
Page 215: Remove Alerts With The Events Panel
You can use sequence markers to specify cue points for FLV files. You can also use sequence markers to specify a URL to send a user to a web page. Premiere Pro also provides Adobe Encore chapter markers that you can add to a sequence to specify scenes, or a menu structure for sequences that you export to Encore.
Page 216 Markers added to a source clip (opened from the Project panel) also appear in the clip when you add it to the sequence. Changing markers in a source clip does not affect individual instances of the clip already in a sequence. For a video on working with markers, see www.adobe.com/go/vid0255. Franklin McMahon this video tutorial on using clip markers.
Page 217 USING ADOBE PREMIERE PRO Editing sequences and clips Add a numbered marker Do one of the following: • To set a clip marker, open a clip in the Source Monitor or select the clip in a Timeline panel. • To set a sequence marker, select the Program Monitor or Timeline panel.
Page 218 This field is enabled only when Web Link is checked. Enter the target frame for a web page if using an Frame Target HTML frameset. Check this box to make the marker a cue point in Adobe Flash. Flash Cue Point Last updated 1/16/2012...
Page 219 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.
Page 220 You can add Encore chapter markers to any sequence in Premiere Pro. Encore reads these markers as chapter points when you export the sequence to Encore using File > Adobe Dynamic Link > Send To Encore. In Encore, you can link chapter points to buttons in menus.
Page 221: Chapter 9: Editing Audio
If you have Adobe Soundbooth, you can use the Edit In Soundbooth command to send an audio file to Adobe Soundbooth for advanced editing. In Premiere Pro CS5.5 and later, you can use the Edit in Audition command.
Page 222 USING ADOBE PREMIERE PRO Editing Audio More Help topics “Review project settings” on page 52 “Work with submixes” on page 245 “Work with tracks” on page 138 Channels in audio clips Clips can contain one audio channel (mono), two audio channels—left and right (stereo), or 5 audio surround channels with a low-frequency effects audio channel (5.1 surround).
Page 223 USING ADOBE PREMIERE PRO Editing Audio • Track settings, which are processed in the following order: Pre-fader effects, pre-fader sends, mute, fader, meter, post-fader effects, post-fader sends, and then pan/balance position. • Track output volume from left to right in the Audio Mixer, from audio tracks to submix tracks, ending at the master track.
Page 224 USING ADOBE PREMIERE PRO Editing Audio View audio clips You can view an audio clip’s Volume, Mute, or Pan time graphs and its waveform in a Timeline panel. You can also view an audio clip in the Source Monitor, which is useful for setting precise In and Out points. You can also view sequence time in audio units instead of frames.
Page 225 USING ADOBE PREMIERE PRO Editing Audio Audio mixer playback controls A. Go To In Point B. Go To Out Point C. Play/Stop Toggle D. Play In To Out E. Loop F. Record The Audio Master Meters panel duplicates the audio display of the Audio Mixer Master Meters. You can open a separate Audio Master Meters panel and dock it anywhere in your workspace.
Page 226: Working With Clips, Channels, And Tracks
USING ADOBE PREMIERE PRO Editing Audio Open the Audio Master Meters panel ❖ Choose Window > Audio Master Meters. Customize a VST effect in an options window Apply a VST plug-in effect to a track in the Audio Mixer. Double-click the effect in the Effects And Sends panel.
Page 227 USING ADOBE PREMIERE PRO Editing Audio Click OK. Change the source audio channel mapping for one or more clips Select one or more clips containing audio in the Project panel and choose Clip > Modify > Audio Channels. Note: If you select more than one audio clip, make sure that the track format is the same for all the selected clips.
Page 228 USING ADOBE PREMIERE PRO Editing Audio • Ch. 3 to Left-Rear Channel. • Ch. 4 to Right-Rear Channel. Click OK. Map sequence audio channels to audio output device hardware channels You can specify the channel in a target hardware audio device for each channel in a sequence Master track. You map channels in the Audio Output Mapping pane of the Preferences dialog box.
Page 229 USING ADOBE PREMIERE PRO Editing Audio Right front channel Left surround channel Right surround channel Center front channel Low frequency effects channel 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.
Page 230 USING ADOBE PREMIERE PRO Editing Audio More Help topics “Change the source audio channel mapping for one or more clips” on page 222 “Fill Left effect, Fill Right effect” on page 410 “Use a mono clip as stereo” on page 225 “Linking multiple audio...
Page 231 USING ADOBE PREMIERE PRO Editing Audio Linked clips remain synchronized as you move them or trim them in a Timeline panel. You can apply audio effects, including Volume and Panning effects, to all channels in the linked clips. If you make an edit that moves one of the linked clips without moving the others, out-of-sync indicators appear.
Page 232: Editing Audio In A Timeline Panel
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 >...
Page 233 USING ADOBE PREMIERE PRO Editing Audio Source Monitor set to display audio units for more precise editing of an audio clip More Help topics “Trim with Trim-in and Trim-out tools” on page 186 Switch a time ruler to audio units in the Source or Program Monitor ❖...
Page 234 USING ADOBE PREMIERE PRO Editing Audio 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 . When you add the clip to the sequence, however, the video and audio appear as two objects, each in its appropriate track (provided you specified both the video and audio sources when adding the clip).
Page 235: Create Split Edits
USING ADOBE PREMIERE PRO Editing Audio Automatically synchronize clips that were moved out of sync Right-click/Control-click the number that appears at the In point in a Timeline panel of the out-of-sync video or audio clip. (The number indicates the amount of time the clip is out of sync with its accompanying video or audio clip.)
Page 236: Recording Audio
USING ADOBE PREMIERE PRO Editing Audio Set source In and Out points for a split edit Although it’s common to create split edits after clips are assembled into a rough cut, it’s possible to trim clips for split edits in the Source Monitor before adding them to the sequence.
Page 237 USING ADOBE PREMIERE PRO Editing Audio Set the location for captured audio Choose Project > Project Settings > Scratch Disks. For Captured Audio, select a location and click OK. Preparing the audio input channel for recording When you enable recording for a track, the track can record from the Default Device channel specified in the Audio Hardware section of the Preferences dialog box.
Page 238 USING ADOBE PREMIERE PRO Editing Audio Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer Test the input levels by playing a selection from the analog source, or by having the narrator speak into the microphone.
Page 239: Adjusting Volume Levels
USING ADOBE PREMIERE PRO Editing Audio Mute input during recording Muting input can prevent feedback or echo when the computer is connected to speakers. Choose Edit > Preferences > Audio (Windows) or Premiere Pro > Preferences > Audio (Mac OS).
Page 240 USING ADOBE PREMIERE PRO Editing Audio Adjusting gain and volume Gain generally refers to the input level or volume in clips. Volume generally refers to the output level or the volume in sequence clips or tracks. You can set gain or volume levels to make levels more consistent among tracks or clips, or to change the volume of a track or clip.
Page 241 Pro scales any keyframes on the master track upward or downward, in proportion to the adjustment made in overall volume. Note: Adobe Premiere Pro does not allow a volume adjustment that would raise the peak higher than 0 dB. Select the sequence you want to normalize.
Page 242 In Adobe Premiere Pro CS5.5 and later, click the rubber band line to set a keyframe with the Pen tool for each change. A modifier key is not needed. You can also Ctrl+click (Windows), or Command+click (Mac OS) a keyframe with the Selection tool to adjust a keyframe.
Page 243 USING ADOBE PREMIERE PRO Editing Audio Apply a volume level to several clips In the Timeline, adjust the volume of a single clip to the desired level. Choose Edit > Copy. Drag a marquee over the other clips you want to change.
Page 244: Recording Audio Mixes
USING ADOBE PREMIERE PRO Editing Audio Mix tracks in the Audio Mixer You can set volume levels of two or more audio tracks, relative to one another, using the Audio Mixer. For example, you can raise the volume of a narrator’s voice on one audio track while simultaneously decreasing the volume of the background music on another track.
Page 245 USING ADOBE PREMIERE PRO Editing Audio Record changes to sound tracks Each channel of the Audio Mixer corresponds to an audio track in the Timeline. You can use the controls in each Audio Mixer channel to record changes to its corresponding audio track. For example, to vary the volume level of clips in the Audio 1 track, use the Volume slider in the Audio 1 channel of the Audio Mixer.
Page 246 Adobe forums. See this video tutorial about understanding automation modes by Andrew Devis on the Creative COW website. Robbie Carman explains how to use automation modes in Adobe Premiere Pro's audio mixer in this episode of Peachpit TV for Video.
Page 247: Panning And Balancing
USING ADOBE PREMIERE PRO Editing Audio Specify automated keyframe creation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, degrading performance. To avoid creating unnecessary keyframes, thereby ensuring both quality interpretation and minimal performance degradation, set the Automation Keyframe Optimization preference.
Page 248 USING ADOBE PREMIERE PRO Editing Audio • When the output track contains fewer channels than in the other audio tracks, Premiere Pro downmixes the audio to the number of channels in the output track. • When an audio track and the output track are mono or when both tracks are 5.1 surround, panning and balancing aren’t available.
Page 249 USING ADOBE PREMIERE PRO Editing Audio 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. • Click the value below the pan control knob, type a new value, and press Enter (Windows) or Return (Mac OS).
Page 250: Advanced Mixing
USING ADOBE PREMIERE PRO Editing Audio In the Audio Mixer, for each channel in a track, click the Direct Output Assignment button, and select one of the 16 channels in the Master track as the destination for that channel. Note: You cannot assign track sends to the Master track in a 16-channel sequence.
Page 251 USING ADOBE PREMIERE PRO Editing Audio Choosing submix type in Audio Mixer Route a track’s output to a submix ❖ In the Audio Mixer, select the submix name from the track output menu at the bottom of the track. Route tracks with sends Each track contains five sends, located in the Effects And Sends panel in the Audio Mixer.
Page 252 USING ADOBE PREMIERE PRO Editing Audio Sends A. Name of submix assigned to send, and Send Assignment menu B. Send mute C. Control knob for selected send property D. Send Properties menu Edit Send settings (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left of the Audio Mixer.
Page 253 USING ADOBE PREMIERE PRO Editing Audio Do any of the following: • To designate a send as a pre-fader or post-fader, right-click (Windows) or Control-click (Mac OS) a send and choose Pre-Fader or Post-Fader from the context menu. • To mute a send, click the Send Mute button next to the send control knob for the selected send property.
Page 254: Editing Audio In Adobe Soundbooth
Editing Audio Editing audio 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. Selecting an audio-only master clip, subclip, or clip instance in a timeline, and choosing Edit In Soundbooth > Edit Source File opens the source file in Soundbooth.
Page 255: Editing And Mixing Audio In 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. If you are using Adobe Premiere Pro CS5.5 and later, you can send an entire sequence to Adobe Audition.
Page 256 Editing audio clips in Adobe Audition (CS5.5) After you send your sequence to Adobe Audition, you will need to edit the audio clips. For more information about how to edit the audio clips, see Edit audio clips from Adobe Premiere Pro CS5.5 or After...
Page 257: Chapter 10: Titling And The Titler
After Effects Help. Maxim Jago explains and demonstrates how to create and composite titles in a video from “Adobe Premiere Pro CS5: Learn By Video” from Video2Brain. Create new titles Create a title from scratch, or use a copy of an existing title as a starting point.
Page 258 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.
Page 259 USING ADOBE PREMIERE PRO Titling and the Titler You can easily change any element in the template by selecting the element and either deleting it or overwriting it. You can also add elements to the template. After you modify the template, you can save it as a title file for use in current and future projects.
Page 260: Creating And Formatting Text In Titles
When adding text to a title, you can use any font on your system, including Type 1 (PostScript), OpenType, and TrueType fonts. Installing Premiere Pro (and other Adobe applications) adds fonts to the shared Adobe resources. You can insert special characters, such as the © symbol, into point text or paragraph text. Copy the characters from a word processor or from the Character Map accessory (Windows only) and paste them into the correct text location in the Titler.
Page 261 USING ADOBE PREMIERE PRO Titling and the Titler Depending on the tool you choose in the Titler, you can create point text or paragraph text. When you create point text, you specify an insertion point where you want to begin typing. Typing continues on a single line unless you enable the word wrap feature.
Page 262 USING ADOBE PREMIERE PRO Titling and the Titler Type text along a path In the Titler, click the Path Type tool or the Vertical Path Type tool . Using the path type tools is similar to drawing with Pen Tool.
Page 263 USING ADOBE PREMIERE PRO Titling and the Titler Type the characters you would like displayed for Style Swatches (limit of two) and the Font Browser (limit of six) into their respective fields. Click > OK. Change the font size ❖...
Page 264 USING ADOBE PREMIERE PRO Titling and the Titler text in a text box by selecting the text box and changing the value. Adjust the baseline shift between specific contiguous characters by selecting only those characters and changing the value. Specifies the slant of an object, in degrees.
Page 265: Drawing Shapes In Titles
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. Jon Barrie shows how to use the Titler in Adobe Premiere Pro to create feathered masks in this video on the Creative Cow website.
Page 266 USING ADOBE PREMIERE PRO Titling and the Titler In the Title Properties panel, click the triangle next to Properties to expand its list, and then choose an option from the Graphic Type menu. Note: When you change shapes, the original object anchor points often are lost. To reveal the object anchor points before or after changing the shape, select the object with the Selection tool.
Page 267 USING ADOBE PREMIERE PRO Titling and the Titler Position Pen Tool where you want the curve segment to end. • To create a C-shaped curve, drag in a direction opposite to the direction that you dragged to create the previous object anchor point.
Page 268 USING ADOBE PREMIERE PRO Titling and the Titler Click the point that you want to delete. Adjust an object anchor point Select the path containing the object anchor point. Select Pen Tool . Position the cursor over the point. When the cursor becomes an arrow with a square next to it, drag the object anchor point to adjust it.
Page 269: Add Images To Titles
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. By default, an inserted image appears at its original size.
Page 270 USING ADOBE PREMIERE PRO Titling and the Titler Switches the selected object with the object directly behind it. Send Backward Note: If your text or shape elements are densely stacked, selecting an element within the stack is difficult. You can use the Title >...
Page 271 USING ADOBE PREMIERE PRO Titling and the Titler Transform objects in titles You can adjust an object’s position, rotation, scale, and opacity—attributes collectively referred to as transform properties. To transform an object, drag it to the drawing area, choose a command from the Title menu, or use controls in the Title Properties panel.
Page 272: Fills, Strokes, And Shadows In Titles
USING ADOBE PREMIERE PRO Titling and the Titler • Select the rotation tool and drag any object in the direction you want. • Choose Title > Transform > Rotation, type a new Rotation value, and click OK. • Enter a value for Rotation in the Title Properties panel, or expand the Rotation category heading and drag the angle control.
Page 273 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. Select the object.
Page 274 USING ADOBE PREMIERE PRO Titling and the Titler Specifies how the texture is stretched along the x or y axis when applied to the Scaling Object X, Scaling Object Y object. The Texture option doesn’t stretch the texture but applies it to the face of the object from the upper left corner to the lower right corner.
Page 275 USING ADOBE PREMIERE PRO Titling and the Titler Set any of the following options: Specifies the type of stroke you apply. Depth creates a stroke that makes the object appear to extrude. Edge Type 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.
Page 276: Titler Text Styles
Titler. The preset style library is stored in the following location: • (Windows) Program Files/Adobe/Premiere Pro [version]/Presets/Styles • (Mac OS) Applications/Premiere Pro [version]/Presets/Styles Custom styles are stored in the following location: •...
Page 277: Rolling And Crawling Titles
USING ADOBE PREMIERE PRO Titling and the Titler Apply a style to an object Select the object to which you want to apply the style. 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.
Page 278 USING ADOBE PREMIERE PRO Titling and the Titler Note: The length of the title clip in a Timeline panel determines the speed of the roll or crawl. The more you increase the title clip length, the slower the movement. Create a rolling or crawling title Do one of the following: •...
Page 279: Chapter 11: Effects And Transitions
Chapter 11: Effects and transitions About effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects.
Page 280 Note: The effects listed in the Effects panel depend on the actual effect files in the language subfolder of the Premiere Pro Plug-ins folder. You can expand the repertoire of effects by adding compatible Adobe plug-in files or plug-in packages available through other third-party developers.
Page 281 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.
Page 282 • Dip to White List of GPU accelerated effects in 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 •...
Page 283: Applying, Removing, Finding, And Organizing Effects
You can also locate an effect by typing the effect name in the Contains box. To open the Effects panel, choose Window > Effects, or click the Effects tab. Karl Soule explains the meanings of the icons for 32-bit (32-bpc) and YUV effects in a pair of articles on the Adobe website: •...
Page 284 USING ADOBE PREMIERE PRO Effects and transitions Note: Acceleration is available for an accelerated effect only when a supported video card is installed. If a supported video card is not installed, the Accelerated Effects filter button still functions. The Accelerated Effects badge is shown in a disabled state to indicate that acceleration is not available.
Page 285 USING ADOBE PREMIERE PRO Effects and transitions In the Effect Controls panel, click the triangle to show options for any effect, and then specify the option values. More Help topics “Viewing and adjusting effects and keyframes” on page 281 Copy and paste clip effects You can easily copy and paste effects from one clip to one or more other clips.
Page 286: Viewing And Adjusting Effects And Keyframes
USING ADOBE PREMIERE PRO Effects and transitions Remove all effects from a clip Select the clip in a Timeline panel. To make sure that only one clip is selected, click an empty space in the Timeline, then click the clip. Click a spot in the time ruler above the selected clip to move the current-time indicator to that location.
Page 287 USING ADOBE PREMIERE PRO Effects and transitions Effect Controls panel A. Sequence name B. Clip name C. Show/Hide Timeline View button D. Timeline view E. Effect Controls panel menu F. Current -time indicator By default, the timeline view is hidden, but you can show it by clicking the Show/Hide Timeline View button Widen the Effect Controls panel, if necessary, to activate this button.
Page 288 Eyedropper tool selects a one pixel area. Ctrl-clicking (Windows) or Command-clicking (Mac OS) an Eyedropper tool samples a 5 x 5 pixel area. • To set a color value using the Adobe Color Picker, click the color swatch, select a color in the Adobe Color Picker dialog box, and then click OK.
Page 289: Applying Effects To Audio
Most of these effects are available for mono, stereo, and 5.1 clips, and can be applied to either clips or tracks, unless specified otherwise. If you have Adobe Soundbooth installed, Premiere Pro automatically locates, recognizes, and uses the VST effects from that program as well.
Page 290 USING ADOBE PREMIERE PRO Effects and transitions An effect can be applied pre-fader or post-fader. The difference is whether the effect is applied before or after the application of the track’s fader. Effects are pre-fader by default. In the Audio Mixer, effect options that change over time can be recorded using the automation options or specified in a Timeline panel by using keyframes.
Page 291 USING ADOBE PREMIERE PRO Effects and transitions Click the menu at the top left corner of the clip in the audio track (it appears with Track:Volume as the default selection); then choose the effect name and property from the menu. Pre-fader effects appear at the top of the menu;...
Page 292 It should be set to something like this location: [Program Files]\Steinberg\VstPlugins\ Note: When you use a VST effect not provided by Adobe, the specific control layout and results of the plug-in are the responsibility of the plug-in manufacturer. Adobe Premiere Pro only displays the controls and processes the results.
Page 293: Working With Audio Transitions
USING ADOBE PREMIERE PRO Effects and transitions 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.
Page 294: Effect Presets
USING ADOBE PREMIERE PRO Effects and transitions Do any of the following: • To fade in a clip’s audio, drag an audio transition from the Effects panel to a Timeline panel so that it snaps to the In point of the audio clip. You can also select the applied transition in a Timeline panel. Then, in the Effect Controls panel choose Start At Cut from the Alignment menu.
Page 295 USING ADOBE PREMIERE PRO Effects and transitions More Help topics “Find and group effects” on page 278 Create and save an effect preset In a Timeline, select the clip that uses one or more effects with the settings that you want to save as a preset.
Page 296: Creating Common Results
If you insert the preset into one of the audio audio track items tracks, then the audio effects are inserted at the targeted position. Adobe Premiere Pro appends the video effects to the end of the effects list for the video track item.
Page 297 The Ken Burns Effect on the Digital Video Editing blog. In this Adobe Premiere Pro tutorial, Andrew Devis shows you how to pan and zoom in Premiere Pro like a professional. Learn proper key-frame interpolation so that the movement is smooth.
Page 298: Motion: Position, Scale, And Rotate A Clip
USING ADOBE PREMIERE PRO Effects and transitions In the Effect Controls panel, click the triangle next to Lighting to expose the Lightning controls. Experiment with different combinations of settings for these three controls. • Stability • Pull Force • Pull Direction A Stability value that is too low doesn’t allow the lightning to be stretched into an arc before it snaps back.
Page 299 USING ADOBE PREMIERE PRO Effects and transitions You can adjust the position, scale, and rotation of a clip and Lighting Effects lights by directly manipulating handles in the Program Monitor. You can also adjust the properties using the controls in the Effect Controls panel.
Page 300 USING ADOBE PREMIERE PRO Effects and transitions Open the Effect Controls panel. Click on the arrow next to the Motion effect to reveal the motion controls. Click on the arrow next to the Scale control within the Motion effect to reveal the Scale slider.
Page 301 USING ADOBE PREMIERE PRO Effects and transitions More Help topics “Adjust position, scale, and rotation” on page 293 “About interpolation” on page 424 “Control change using Bezier keyframe interpolation” on page 425 “Adding, navigating, and setting keyframes” on page 415 Videomaker Tips &...
Page 302 USING ADOBE PREMIERE PRO Effects and transitions Change Position keyframes in a motion path You can change the value of a Position keyframe, and thereby adjust your motion path, simply by dragging the Position keyframe (indicated by a white X) in the Program Monitor.
Page 303: Eliminate Flicker
USING ADOBE PREMIERE PRO Effects and transitions The clip anchor point in the Program Monitor Select the Effect Controls tab, and, if necessary, click the triangle next to the Motion heading to open the Motion controls. Drag the anchor point horizontal control to the left (decreasing the number value) to offset the anchor point to the left of the clip, or drag it to the right (increasing the number value) to offset it to the right.
Page 304: Duration And Speed
USING ADOBE PREMIERE PRO Effects and transitions More Help topics “Choose fields in the Source and Program Monitors” on page 126 Duration and speed View the total duration of selected clips Make sure that the Info panel is visible. If it is not, choose Window > Info.
Page 305 USING ADOBE PREMIERE PRO Effects and transitions You can use frame blending to smooth the appearance of a speed effect that changes the time or frame rate of a clip. To enable frame blending, choose Clip > Video Options > Frame Blend. For more information about frame blending, “Blend frames for smooth...
Page 306 Note: When you lengthen a clip in a sequence by slowing its speed, it will not overwrite an adjacent clip. Instead, the clip expands until it touches the edge of the adjacent clip. Adobe Premiere Pro then pushes remaining frames into the tail of the lengthened clip.
Page 307 USING ADOBE PREMIERE PRO Effects and transitions Footage is displayed at constant speed in one direction. Time-remapping distorts time for range of frames within clip. Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips.
Page 308 USING ADOBE PREMIERE PRO Effects and transitions More Help topics Slow motion and time remapping “Add markers” on page 210 Creative COW: Time Remapping In Premiere Pro CS3 Vary change to clip speed In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed. (The Clip Effect menu appears next to the filename of every clip in a video track.
Page 309 USING ADOBE PREMIERE PRO Effects and transitions Blue curve control in gray area between halves of a speed keyframe (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.
Page 310 USING ADOBE PREMIERE PRO Effects and transitions Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end. A tool tip shows the speed as a negative percentage of the original speed. The Program monitor displays two panes: the static frame where you initiated the drag, and a dynamically updating frame that reverse playback returns to before switching to forward speed.
Page 311 USING ADOBE PREMIERE PRO Effects and transitions Dragging a curve control handle to ease in a speed change Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline.
Page 312 USING ADOBE PREMIERE PRO Effects and transitions Choosing Time Remapping > Speed from a video effect control 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.
Page 313 USING ADOBE PREMIERE PRO Effects and transitions 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.
Page 314: Interlacing And Field Order
ProVideo Coalition website • video overview of fields and interlacing on the Lynda.com website • For information about exporting a PsF (progressive segmented frame) video file from Premiere Pro via Adobe Media Encoder, see this thread on the Premiere Pro user-to-user forum.
Page 315 USING ADOBE PREMIERE PRO Effects and transitions About field dominance and field reversal Fields in a clip can become reversed from the state in which they were originally acquired in any of the following ways: • The video capture card used to capture the footage is set to the field dominance opposite that of the source device, •...
Page 316: Color Correction And Adjustment
“Adobe Premiere Pro CS5: Learn By Video” from Video2Brain. Steve Hoeg, software engineer for Adobe Premiere Pro, explains how colors are processed within Premiere Pro, including how and when colors are converted between RGB and YUV color models in this forum post.
Page 317 USING ADOBE PREMIERE PRO Effects and transitions You apply the Color Correction effects to a clip the same way you apply all Standard effects. The effect properties are adjusted in the Effect Controls panel. The Color Correction effects and other color effects are clip-based. However, you can apply them to multiple clips by nesting sequences.
Page 318 USING ADOBE PREMIERE PRO Effects and transitions To see a before and after comparison of your color correction, you can either display the master clip in the Source Monitor for comparison with the Program Monitor, or you can select the Split Screen Preview option in the Color Correction effects.
Page 319 USING ADOBE PREMIERE PRO Effects and transitions (Optional) Use the Tonal Range Definition control to define the shadow, midtone, and highlight areas in the clip. You can choose Tonal Range from the Output menu to view the tonal ranges you defined. Once defined, choose from the Tonal Range menu to restrict the color corrections to a specific tonal range.
Page 320 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. More Help topics “Specify a color or range of colors to...
Page 321 USING ADOBE PREMIERE PRO Effects and transitions Color balance, angle, and saturation controls The Fast Color Corrector and the Three-way Color Corrector effects offer Hue Balance and Angle color wheels and a Saturation control for balancing color in your video. Color balance is just what its name implies, balancing the red, green, and blue components to produce the desired color of white and neutral grays in the image.
Page 322 USING ADOBE PREMIERE PRO Effects and transitions Desaturated image (left); Saturated image (right) More Help topics “Vectorscope” on page 131 Adjust color balance and saturation Although the following procedure uses the color wheel adjustments. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-way Color Corrector effects.
Page 323 USING ADOBE PREMIERE PRO Effects and transitions • To shift the colors toward a target color with gain and magnitude adjustment, drag the Balance Magnitude circle out from the center toward the color you want introduced into the image. The farther you drag the Balance Magnitude from the center, the introduced color is more intense.
Page 324 USING ADOBE PREMIERE PRO Effects and transitions (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu. This option affects only the preview in the Program Monitor; it doesn’t remove the color from the video.
Page 325 USING ADOBE PREMIERE PRO Effects and transitions Adjust luminance using levels The Fast Color Corrector and the Three-way Color Corrector effects have Input Levels and Output Levels controls to adjust the luminance in a clip. The controls are similar to the ones in Photoshop’s Levels dialog box. In the Fast Color Corrector effect, control settings are applied to all three color channels in a clip.
Page 326 Black Level eyedropper Monitor that you want to be the darkest value in the image. You can also click the color swatch to open the Adobe Color Picker and select a color to define the darkest shadow in the image.
Page 327 Selecting the Only Web Colors option configures the Adobe Color Picker so that you can choose only from wheelbase colors. The color field in the Adobe Color Picker can display color components in HSB, RGB, HSL, or YUV color mode.
Page 328 USING ADOBE PREMIERE PRO Effects and transitions Do any of the following: • Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum. • Click or drag inside the large square color spectrum to select a color. A circular marker indicates the color's position in the color spectrum.
Page 329 Select the Eyedropper tool and click the color you want to select in the Program Monitor. You can also click anywhere in the workspace to select a color, or click the color swatch to open the Adobe Color Picker and select a color.
Page 330 USING ADOBE PREMIERE PRO Effects and transitions (Optional) Choose Mask from the Output menu to view the areas selected for adjustment. White represents areas that allow 100% color correction, and black represents areas protected (masked) from color correction. The gray areas allow partial application of the color correction.
Page 331 You can also click the Target Color swatch and select a color in the Adobe Color Picker. Choose the replacement color by clicking the Replace Color swatch and selecting the color in the Adobe Color Picker.
Page 332 • 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.
Page 333: Add Lighting Effects
USING ADOBE PREMIERE PRO Effects and transitions Note: Convolution presets are found in the Effects panel’s preset category in a sub-category called “Convolution Kernal.” In this sub-category, there are presets that all have “Convolution Kernal” at the beginning of the name.
Page 334 To specify a color for the light, do one of the following: • Click the color swatch, select a color using the Adobe Color Picker, and then click OK. • Click the Eyedropper icon and then click anywhere on the computer desktop to select a color.
Page 335: Transition Overview: Applying Transitions
USING ADOBE PREMIERE PRO Effects and transitions Determines how much the surface reflects light (as on the surface of a piece of photographic paper) from Surface Gloss –100 (low reflectance) to 100 (high reflectance). Determines which is more reflective: the light or the object on which the light is cast. A value of –100 Surface Material reflects the light’s color, and a value of 100 reflects the object’s color.
Page 336 Premiere CS5 tutorial videos on applying transitions at Infinite Skills. Kevin Monahan shows how to create new transitions based on effects in an article on the Adobe website: using effects as transitions in Adobe Premiere Pro in this blog post.
Page 337 USING ADOBE PREMIERE PRO Effects and transitions 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.
Page 338 USING ADOBE PREMIERE PRO Effects and transitions Types of transitions A. Double-sided transition using duplicate frames B. Double-sided transition C. Single-sided transition Note: If a double-sided transition must repeat frames (rather than use trimmed frames), the transition icon contains additional diagonal lines. The lines span the area where it has used the repeated frames. (See “Clip handles and...
Page 339 USING ADOBE PREMIERE PRO Effects and transitions Apply a single-sided transition In the Effects panel, find the transition you want to apply. You’ll need to expand the Video Transitions bin, and then expand the bin containing the transition you want to use.
Page 340: Modifying And Customizing Transitions
USING ADOBE PREMIERE PRO Effects and transitions Note: You can add the default video transition between clips in a video track by pressing Ctrl+D (Windows) or Command+D (Mac OS). You can add the default audio transition between two clips in an audio track by pressing Ctrl+Shift+D (Windows) or Command+Shift+D (Mac OS).
Page 341 Note: Keyframes cannot be used with transitions. For transitions, the Timeline View in the Effect Controls panel is used for adjusting transition alignment and duration. Kevin Monahan shows how to create new transitions based on effects in an article on the Adobe website: using effects as transitions in Adobe Premiere Pro in this blog post.
Page 342 USING ADOBE PREMIERE PRO Effects and transitions Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel Double-click the transition in a Timeline panel to open the Effect Controls panel. If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel.
Page 343 USING ADOBE PREMIERE PRO Effects and transitions If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel. If necessary, widen the panel to make this button visible and active. In the Effect Controls time ruler, position the pointer over the transition, placing it on the thin vertical line that marks the cut.
Page 344: Effects And Transitions Reference
USING ADOBE PREMIERE PRO Effects and transitions Default center (left) and repositioned center (right) Change transition settings In a Timeline panel, click a transition to select it. In the Effect Controls panel, adjust settings: Change the orientation or direction of the transition. Click an Edge selector arrow on the transition’s Edge selectors thumbnail.
Page 345: Channel Effects
USING ADOBE PREMIERE PRO Effects and transitions • “Camera Blur effect (Windows only)” on page 347 • “Channel Blur effect” on page 347 • “Compound Blur effect” on page 347 • “Directional Blur effect” on page 348 • “Fast Blur effect”...
Page 346: Distort Effects
USING ADOBE PREMIERE PRO Effects and transitions Distort effects • “Bend effect (Windows only)” on page 366 • “Corner Pin effect” on page 366 • “Lens Distortion effect (Windows only)” on page 367 • “Magnify effect” on page 367 •...
Page 347: Perspective Effects
USING ADOBE PREMIERE PRO Effects and transitions • “Chromakey with the Ultra Key effect” on page 380 • “Color Key effect” on page 381 • “Difference Matte effect” on page 382 • “Eight-Point, Four-Point, and Sixteen-Point Garbage Matte effects” on page 383 •...
Page 348 USING ADOBE PREMIERE PRO Effects and transitions • “Threshold effect” on page 397 Time effects • “Echo effect” on page 398 • “Posterize Time effect” on page 399 Transform effects • “Camera View effect (Windows only)” on page 399 •...
Page 349: Adjust Effects
USING ADOBE PREMIERE PRO Effects and transitions 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. Auto Contrast adjusts the overall contrast and mixture of colors, without introducing or removing color casts.
Page 350 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.
Page 351 USING ADOBE PREMIERE PRO Effects and transitions Shadow/Highlight effect The Shadow/Highlight effect brightens shadowed subjects in an image and reduces the highlights in an image. This effect doesn’t darken or lighten an entire image; it adjusts the shadows and highlights independently, based on the surrounding pixels.
Page 352: Blur And Sharpen Effects
USING ADOBE PREMIERE PRO Effects and transitions The amount of contrast that the effect applies to the midtones. Higher values increase the contrast Midtone Contrast in the midtones alone, while concurrently darkening the shadows and lightening the highlights. A negative value reduces contrast.
Page 353 USING ADOBE PREMIERE PRO Effects and transitions Original (left), blur layer (center), and result (right) The maximum amount, in pixels, that any part of the affected clip can be blurred. Maximum Blur Stretches the control clip to the dimensions of the clip to which it is applied; otherwise, the control Stretch Map To Fit clip is centered on the effect clip.
Page 354 USING ADOBE PREMIERE PRO Effects and transitions 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.
Page 355 USING ADOBE PREMIERE PRO Effects and transitions Blend effect The Blend effect blends two clips using one of five modes. After you blend clips using this effect, disable the clip you selected from the Blend With Layer menu. Select the clip and choose Clip > Enable.
Page 356 USING ADOBE PREMIERE PRO Effects and transitions Stretches the second video track to the dimensions of the original clip before blending. Stretch Second Layer To Fit Deselect this option to center the second video track on the original clip. Ensures that the original layer’s alpha channel isn’t modified.
Page 357 USING ADOBE PREMIERE PRO Effects and transitions 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.
Page 358 USING ADOBE PREMIERE PRO Effects and transitions Brightness & Contrast effect The Brightness & Contrast effect adjusts the brightness and contrast of an entire clip. The default value of 0.0 indicates that no change is made. Using the Brightness & Contrast effect is the easiest way to make simple adjustments to the tonal range of the image.
Page 359 USING ADOBE PREMIERE PRO Effects and transitions Determines the color space in which to compare colors to determine similarity. RGB compares colors Match Colors in an RGB color space. Hue compares on the hues of colors, ignoring saturation and brightness—so bright red and light pink match, for example.
Page 360 USING ADOBE PREMIERE PRO Effects and transitions Channel Mixer effect The Channel Mixer effect modifies a color channel by using a mix of the current color channels. Use this effect to make creative color adjustments not easily done with the other color adjustment tools: Create high-quality grayscale images by choosing the percentage contribution from each color channel, create high-quality sepia-tone or other tinted images, and swap or duplicate channels.
Page 361 Assigns a white balance to an image using the Eyedropper tool to sample a target color in the image or White Balance anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the white balance.
Page 362 Eyedropper tools to sample a target color in the image or anywhere on your monitor’s desktop. You can also click the color swatch to open the Adobe Color Picker and select a color to define the black, midtone gray, and white.
Page 363 USING ADOBE PREMIERE PRO Effects and transitions Original image (left), and with effect applied (right) How much color to remove. 100% causes areas of the image dissimilar to the selected color to Amount To Decolor appear as shades of gray.
Page 364 Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Page 365 USING ADOBE PREMIERE PRO Effects and transitions range, and use the - Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color. Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle...
Page 366 Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Page 367 Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Page 368 Black Balance, Gray Balance, White Balance Eyedropper tools to sample a target color in the image, or choosing a color from the Adobe Color Picker. Defines the tonal range of the shadows, midtones, and highlights in a clip. Drag the square Tonal Range Definition sliders to adjust the threshold values.
Page 369 Use the + Eyedropper tool to extend the color range, and use the – Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color.
Page 370 USING ADOBE PREMIERE PRO Effects and transitions Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle Hue, Saturation, and Luma next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
Page 371 USING ADOBE PREMIERE PRO Effects and transitions Specifies the lowest saturation for the colors in an image. Chroma Min Specifies the maximum saturation for the colors in an image. Chroma Max Specifies the minimum video signal including both brightness and saturation.
Page 372 USING ADOBE PREMIERE PRO Effects and transitions Original image (left), corner moved (center), and final image (right) Lens Distortion effect (Windows only) The Lens Distortion effect simulates a distorted lens through which the clip is viewed. Changes the curvature of the lens. Specify a negative value to make the image concave, or a positive value Curvature to make the image convex.
Page 373 Skew amount. Skew The axis about which skew occurs. Skew Axis Note: In Adobe After Effects, the Transform effect includes the Shutter Angle control and Use Composition’s Shutter Angle option. Both controls are adjusted only in After Effects. Last updated 1/16/2012...
Page 374 USING ADOBE PREMIERE PRO Effects and transitions Turbulent Displace effect The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing water, funhouse mirrors, and waving flags. Original image (left), and with variations of effect applied (center and right) The type of turbulence used.
Page 375 USING ADOBE PREMIERE PRO Effects and transitions Twirl effect The Twirl effect distorts an image by rotating a clip around its center. The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings.
Page 376 USING ADOBE PREMIERE PRO Effects and transitions Cell Pattern effect The Cell Pattern effect generates cellular patterns based on cellular noise. Use it to create static or moving background textures and patterns. The patterns can be used in turn as textured mattes, as transition maps, or as a source for displacement maps.
Page 377 USING ADOBE PREMIERE PRO Effects and transitions • The number of revolutions of the Evolution setting that the cell pattern cycles through before it repeats. The Cycle timing of the Evolution cycles is determined by the amount of time between Evolution keyframes.
Page 378 USING ADOBE PREMIERE PRO Effects and transitions The thickness of the feather. Feather Inverts the matte. Invert Circle The blend mode used to combine the shape and the original clip. The default None displays only the Blending Mode shape, without the original clip.
Page 379 USING ADOBE PREMIERE PRO Effects and transitions Grid effect Use the Grid effect to create a customizable grid. Render this grid in a color matte or as a mask in the alpha channel of the source clip. This effect is good for generating design elements and mattes within which other effects can be applied.
Page 380 The Paint Bucket effect is a nondestructive paint effect that fills an area with a solid color. It works much like the Paint Bucket tool in Adobe Photoshop. Use Paint Bucket for colorizing cartoon-type outlined drawings or replacing areas of color in an image.
Page 381 USING ADOBE PREMIERE PRO Effects and transitions Jeff Sengstack explains how to use the Paint Bucket effect to change the color of an object in this lynda.com video from his tutorial -- Premiere Pro: Color Correction and Enhancement. Colors fill spiral shapes on separate tracks (left and center); effect applied to saucer with Color blend mode (right) The effect fills an area that contains the Fill Point.
Page 382 USING ADOBE PREMIERE PRO Effects and transitions Note: If you apply multiple instances of Paint Bucket to a clip, be sure not to set more than one to use the Fill Only blend mode. If you set more than one instance to use this blend mode, only the first application of the effect is shown.
Page 383 USING ADOBE PREMIERE PRO Effects and transitions More Help topics “Adding, navigating, and setting keyframes” on page 415 Image Control effects Black & White effect The Black & White effect converts any color clip to grayscale; that is, colors appear as shades of gray. You cannot animate this effect with keyframes.
Page 384 USING ADOBE PREMIERE PRO Effects and transitions Reverses the transparency and opaque areas of the clip. Invert Alpha Applies the effect only to a masked area. Mask Only Blue Screen Key effect (Windows only) The Blue Screen Key effect creates transparency from true chroma blue. Use this key to key out well-lit blue screens when creating composites.
Page 385 USING ADOBE PREMIERE PRO Effects and transitions Blends the clip you are keying out with the underlying clip. Higher values blend more of the clip. Blend Controls the amount of shadows in the range of color you keyed out. Higher values retain more shadows.
Page 386 USING ADOBE PREMIERE PRO Effects and transitions Filters out noise, often caused by grainy or low light footage, from the alpha channel. Values range from 0 Pedestal through 100. The default value is 10. 0 does not affect the image. The higher the quality of your source image, the lower you can set Pedestal.
Page 387 USING ADOBE PREMIERE PRO Effects and transitions Difference Matte effect The Difference Matte effect creates transparency by comparing a source clip with a difference clip, and then keying out pixels in the source image that match both the position and color in the difference image. Typically, it’s used to key out a static background behind a moving object, which is then placed on a different background.
Page 388 USING ADOBE PREMIERE PRO Effects and transitions From the Difference Layer drop-down menu, select the track that contains the matte frame. Adjust the other settings as needed to achieve the desired effect. (Optional) If you’re animating the Difference Matte, move the current-time indicator either in the Effect Controls panel or Timeline panel and change the Image Matte settings.
Page 389 USING ADOBE PREMIERE PRO Effects and transitions Do any of the following to adjust the mask shape: • With the Garbage Matte effect selected in the Effect Controls panel, drag the Garbage Matte handles in the Program Monitor. • Adjust the Garbage Matte point settings in the Effect Controls panel to specify the size and position of the garbage matte.
Page 390 USING ADOBE PREMIERE PRO Effects and transitions In the Effect Controls panel, click the triangle to expand the Image Matte Key settings. Click the Setup button , browse to the image being used as the matte, and then click Open to select the image.
Page 391 USING ADOBE PREMIERE PRO Effects and transitions Non Red Key effect The Non Red Key effect creates transparency from green or blue backgrounds. This key is similar to the Blue Screen Key effect, but it also lets you blend two clips. In addition, the Non Red Key effect helps reduce fringing around the edges of nontransparent objects.
Page 392 USING ADOBE PREMIERE PRO Effects and transitions Remove Matte effect The Remove Matte effect removes color fringes from clips that are premultiplied with a color. It is useful when combining alpha channels with fill textures from separate files. If you import footage with a premultiplied alpha channel, or if you create alpha channels with After Effects, you may need to remove halos from an image.
Page 393 • Apply the Chroma, RGB Difference, Difference Matte, Blue Screen, or Non Red Key to any clip and then select the Mask Only option. • Use Adobe Illustrator or Adobe Photoshop to create a grayscale image and import it into Premiere Pro. Add the background clip to a track in a Timeline panel.
Page 394 USING ADOBE PREMIERE PRO Effects and transitions Composites using the track matte clip’s luminance values. Matte Luma (Optional) Select the Reverse option to invert the values of the track matte clip. To retain the original colors in the superimposed clip, use a grayscale image for the matte. Any color in the matte removes the same level of color from the superimposed clip.
Page 395 USING ADOBE PREMIERE PRO Effects and transitions Noise effect The Noise effect randomly changes pixel values throughout the image. The amount of noise to add. Amount Of Noise Use Color Noise to add random values to the red, green, and blue channels individually. Otherwise, the Noise Type same random value is added to all channels for each pixel.
Page 396 USING ADOBE PREMIERE PRO Effects and transitions Noise HLS and Noise HLS Auto effects The Noise HLS effect generates static noise in clips that use still or moving source footage. The Noise HLS Auto effect automatically creates animated noise. Both effects offer various types of noise that can be added to the hue, saturation, or lightness of a clip.
Page 397 USING ADOBE PREMIERE PRO Effects and transitions Basic 3D effect: Swivel (left), Swivel and Tilt (center), and Swivel, Tilt, and Distance (right) Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of Swivel the image, which is the mirror image of the front.
Page 398 Drop Shadow instead of animating the Fixed Motion effect because Fixed effects are rendered after Standard effects. More Help topics “Select a color with the Adobe Color Picker” on page 321 Radial Shadow effect The Radial Shadow effect creates a shadow from a point light source over the clip it’s applied to, rather than from an infinite light source (as with the Drop Shadow effect).
Page 399 USING ADOBE PREMIERE PRO Effects and transitions result, and the Shadow Color value determines the shadow’s color. Decreasing the Color Influence value blends the colors of the clip in the shadow with the Shadow Color. Increasing Color Influence reduces the influence of the Shadow Color.
Page 400 USING ADOBE PREMIERE PRO Effects and transitions • Causes only the strokes themselves to appear, leaving the clip transparent between the Paint On Transparent strokes. • Applies strokes over a white or black background. Paint On White/Paint On Black The effect’s transparency. The result of the effect is blended with the original image, with the effect Blend With Original result composited on top.
Page 401 USING ADOBE PREMIERE PRO Effects and transitions Replicate effect The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider. Roughen Edges effect The Roughen Edges effect roughs up the edges of a clip’s alpha channel by using calculations.
Page 402 USING ADOBE PREMIERE PRO Effects and transitions Note: Create new roughness animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the evolution animation.
Page 403: Time Effects
USING ADOBE PREMIERE PRO Effects and transitions Effect applied with threshold settings of 44 (left), 70 (center), and 200 (right) 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.
Page 404: Transform Effects
USING ADOBE PREMIERE PRO Effects and transitions • Uses the echoes’ alpha channels to composite them front to back. Composite In Front • Averages the echoes. Blend Posterize Time effect The Posterize Time effect locks a clip to a specific frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses.
Page 405: Transition Effects
USING ADOBE PREMIERE PRO Effects and transitions Horizontal Flip effect The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction. Horizontal Hold effect (Windows only) The Horizontal Hold effect skews the frames to the left or to the right; the effect is similar to the horizontal hold setting on a television set.
Page 406 USING ADOBE PREMIERE PRO Effects and transitions You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator. The degree to which the transition is gradual for each pixel. If this value is 0%, pixels in the clip to Transition Softness which the effect is applied are either completely opaque or completely transparent.
Page 407: Utility Effects
USING ADOBE PREMIERE PRO Effects and transitions Radial Wipe effect The Radial Wipe effect reveals an underlying clip using a wipe that circles around a specified point. The angle at which the transition starts. With a start angle of 0°, the transition starts at the top.
Page 408: Video Effects
USING ADOBE PREMIERE PRO Effects and transitions The white point (maximum density) for converting a 10-bpc logarithmic Cineon clip. 10 Bit White Point The white point used for the clip in Premiere Pro. Internal White Point Increase or decrease Gamma to lighten or darken midtones, respectively.
Page 409: Audio Effects And Transitions Reference
USING ADOBE PREMIERE PRO Effects and transitions Cross Dissolve transition Cross Dissolve fades out clip A while fading in clip B. Cross dissolve can also work well at the beginning or end of a clip when you want to fade in or out from black. Stan...
Page 410 USING ADOBE PREMIERE PRO Effects and transitions • “Channel Volume effect” on page 406 • “Chorus effect” on page 406 • “DeClicker effect” on page 407 • “DeCrackler effect” on page 407 • “DeEsser effect” on page 407 • “DeHummer effect”...
Page 411: Chorus Effect
USING ADOBE PREMIERE PRO Effects and transitions 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. Specifies the frequency at the center of the specified range.
Page 412 USING ADOBE PREMIERE PRO Effects and transitions • Determines the ratio of Dry and Effects signal. A setting of 100% corresponds to a ratio of 1/1 while a setting of 0 will defeat the effect signal. • Adds a percentage of processed voices back into the effect input. Feedback can give a waveform an extra Feedback echo or reverb effect.
Page 413 USING ADOBE PREMIERE PRO Effects and transitions Specifies the gender of the narrator or vocalist. This option helps the effect to adapt to the difference Male and Female in tone between genders. DeHummer effect The DeHummer effect removes unwanted 50 Hz / 60-Hz hum from the audio. This effect is available for 5.1, stereo, or mono clip.
Page 414 USING ADOBE PREMIERE PRO Effects and transitions speaker stops, thereby removing all other sounds. The LED display colors indicate the gate’s mode: open (green), attack or release (yellow), and closed (red). Use the following controls for Gate: • Specifies the level (between –60 and 0 dB) that the incoming signal must exceed to open the gate. If the Threshold signal level falls below this level, the gate closes, muting the incoming signal.
Page 415 USING ADOBE PREMIERE PRO Effects and transitions EQ effect The EQ effect acts as a parametric equalizer, meaning that it controls frequency, bandwidth, and level using multiple bands. The effect includes three fully parametric mid bands, a high band, and a low band. The low and high bands are shelving filters, by default.
Page 416 USING ADOBE PREMIERE PRO Effects and transitions Highpass and Lowpass effects The Highpass effect removes frequencies below the specified Cutoff frequency. The Lowpass effect eliminates frequencies above the specified Cutoff frequency. The Highpass and Lowpass effects are available for 5.1, stereo, or mono clips.
Page 417 Width in decibels. Specifies the amount by which to increase or decrease the range of frequencies (between –24 and +24 dB). Boost Sweetening audio with Parametric EQ in Adobe Premiere Pro and Audition CS5.5, in this video tutorial by Andrew Devis.
Page 418 USING ADOBE PREMIERE PRO Effects and transitions Prevents formants in the audio clip from being affected. For example, use this control when Formant Preserve increasing the pitch of a high voice to prevent it from sounding cartoon-like. Reverb effect The Reverb effect adds ambience and warmth to an audio clip by simulating the sound of the audio playing in a room.
Page 419 USING ADOBE PREMIERE PRO Effects and transitions Volume effect Use the Volume effect in place of the Fixed Volume effect if you want to render Volume before other Standard effects. The Volume effect creates an envelope for a clip so that you can increase the audio level without clipping. Clipping occurs when the signal exceeds the dynamic range that’s acceptable for your hardware, often resulting in distorted...
Page 420: Chapter 12: Animation And Keyframes
Maxim Jago explains and demonstrates animating using keyframes in a video from “Getting Started with Adobe Premiere Pro” on the Video2Brain website. View keyframes and graphs The Effect Controls panel and Timeline panels let you adjust the timing and values of keyframes, but they work in different ways.
Page 421 USING ADOBE PREMIERE PRO Animation and keyframes Effect Controls A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip.
Page 422 USING ADOBE PREMIERE PRO Animation and keyframes Keyframe tool tip A. Timecode B. Property value (Optional) If the track is collapsed, click the triangle to the left of the track name to expand it. For a video track, click the Show Keyframes button , and choose any of the following from the menu: Displays the graph and keyframes of any video effect applied to clips in the track.
Page 423 USING ADOBE PREMIERE PRO Animation and keyframes Choosing from the effects menu Place the pointer directly over a keyframe to view its property in a tool tip. The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel.
Page 424 USING ADOBE PREMIERE PRO Animation and keyframes 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.
Page 425 USING ADOBE PREMIERE PRO Animation and keyframes More Help topics “View keyframes and graphs” on page 415 “Adjust or reset controls in the Effect Controls panel” on page 283 “Apply effects to clips” on page 279 Select keyframes If you want to modify or copy a keyframe, first select it in a Timeline panel. Unselected keyframes appear hollow;...
Page 426 USING ADOBE PREMIERE PRO Animation and keyframes Edit keyframe graphs in the Effect Controls panel Once you activate keyframing for an effect’s property, you can display the effect’s Value and Velocity graphs. Value graphs provide information about the value of nonspatial keyframes (such as the Scale property of the Motion effect) at any point in time.
Page 427: Moving And Copying Keyframes
USING ADOBE PREMIERE PRO Animation and keyframes • Position the Selection or Pen tool over a keyframe or keyframe segment. The Selection or Pen tool changes to the keyframe pointer or keyframe segment pointer Do any combination of the following: •...
Page 428 USING ADOBE PREMIERE PRO Animation and keyframes Copy and paste keyframes in the Effect Controls panel When you paste keyframes into another clip, they appear in the corresponding property in the target clip’s effect in the Effect Controls panel. The earliest keyframe appears at the current time, and the other keyframes follow in relative order.
Page 429: Controlling Effect Changes Using Keyframe Interpolation
USING ADOBE PREMIERE PRO Animation and keyframes Controlling effect changes using keyframe interpolation 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. For example, if you want a graphic element (such as a title) to move fifty pixels across the screen to the left, and you want it to do so in 15 frames, you’d set the position of...
Page 430 USING ADOBE PREMIERE PRO Animation and keyframes Changing keyframe interpolation for the Position property of the Motion effect A Linear spatial keyframe B. Auto Bezier interpolation C. Continuous Bezier interpolation Do one of the following: • In the Effect Controls panel, right-click a keyframe marker.
Page 431 USING ADOBE PREMIERE PRO Animation and keyframes Create Bezier keyframes In a Timeline panel, select the clip containing the keyframes you want to adjust, and then do one of the following: • (Timeline panel) Choose the property you want to adjust from the effect menu next to the clip or track name. You adjust the temporal interpolation of a property in a Timeline panel.
Page 432 USING ADOBE PREMIERE PRO Animation and keyframes Velocity graph A. Speed controls B. Incoming direction handles C. Outgoing direction handles In the Effect Controls panel, click the triangle to expand the effect property with keyframes that you want to adjust.
Page 433: Optimize Keyframe Automation
USING ADOBE PREMIERE PRO Animation and keyframes Optimize keyframe automation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance. To avoid creating unnecessary keyframes, thereby ensuring both quality interpretation and minimal performance degradation, set the Automation Keyframe Optimization preference.
Page 434: Chapter 13: Compositing
Chapter 13: Compositing Compositing, alpha channels, and adjusting clip opacity 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.
Page 435 Many file formats can include an alpha channel, including Adobe Photoshop, ElectricImage, FLV, TGA, TIFF, EPS, PDF, and Adobe Illustrator. AVI and QuickTime (saved at a bit depth of Millions Of Colors+), also can contain alpha channels, depending upon the codecs used to generate these file types.
Page 436 • 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.
Page 437: Blending Modes
USING ADOBE PREMIERE PRO Compositing Blending modes You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks. For more information about the Subtract and Divide blend modes, see this video by Video2Brain.
Page 438 USING ADOBE PREMIERE PRO Compositing Blending mode descriptions In the following descriptions, these terms are used: • The source color is the color of the layer to which the blend mode is applied. • The underlying color is the color of the composited layers below the source layer in the Timeline panel.
Page 439 USING ADOBE PREMIERE PRO Compositing than 50% gray, the result color is darker than the underlying color, as if burned. A layer with pure black or white becomes markedly darker or lighter, but does not become pure black or white.
Page 440: Chapter 14: Exporting
Send to Encore for DVD, Blu-ray Disc, or SWF file creation You can send video from any sequence into Adobe Encore for output to DVD, Blu-ray Disc (Windows only), or a SWF file. Changes made in the timelines of either Premiere Pro or Encore are reflected in the other, by way of Adobe Dynamic Link.
Page 441 Adobe Media Encoder. From the Export Settings dialog box, click Queue to send Premiere Pro sequences into the standalone Adobe Media Encoder queue. From the queue, you can encode sequences into one or more formats, or take advantage of other features.
Page 442: Formats Exported Directly From Premiere Pro
Exporting By default, Adobe Media Encoder saves the exported file in the folder where the source file is located. Adobe Media Encoder appends the extension for the format specified to the end of the filename. You can specify watched folders for various types of exported files.
Page 443 Adobe Media Encoder adds the sequence or clip to the CONTENTS folder of the disk or P2 card. Adobe Media Encoder adds the video MXF file to the VIDEO folder, and the audio MXF file to the AUDIO folder. Adobe Media Encoder adds the icon file to the ICON folder, and the metadata XML file to the CLIP folder.
Page 444: Exporting Omf Files For Pro Tools
USING ADOBE PREMIERE PRO Exporting Exporting OMF files for 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.
Page 445 USING ADOBE PREMIERE PRO Exporting With the Encapsulate option, you can export a single, large, OMF file Encapsulate and Separate Audio options containing both audio and OMF metadata. With the Separate Audio option, you can export a smaller OMF file and a set of related, individual, external audio files.
Page 446: Export A Still Image
Source Monitor and Program Monitor enable you to quickly export frames of video without using the Adobe Media Encoder. This is sometimes called a frame grab. Position the playhead at the desired frame in a clip or sequence.
Page 447: Exporting Projects For Other Applications
HD sequences that use Dynamic Link for Blu-Ray Disc authoring. Choose File > Adobe Dynamic Link > Send To Encore. On the Basic tab in the New Project dialog box, type a name for the disc into the Name field.
Page 448 USING ADOBE PREMIERE PRO Exporting You can export one video track and up to four audio channels, or two stereo tracks. Specify the location and name for the EDL file, and click Save. Click OK. Note: In Premiere Pro CS5.5 and later, merged clips are supported in standardized EDLs. EDLs will interpret the merged clip sequence track items in the same way it currently does for separate audio and audio clips that are used together in the sequence at the same time locations.
Page 449 USING ADOBE PREMIERE PRO Exporting the source media, the plug-in stretches the audio clip to the same length as the rest of the source media. The plug-in begins at the StartTime, and places filler in the gap. You can fix these portions of the sequence manually in the Avid editing system.
Page 450: Exporting To Videotape
USING ADOBE PREMIERE PRO Exporting Exporting to videotape 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.
Page 451 USING ADOBE PREMIERE PRO Exporting Specifies DV 24p (24 progressive) or 24pA (24 progressive advanced), which uses a timebase of 23.976 and DV 23.976i interlaced fields (that become progressively scanned frames using a pulldown scheme). Select a 24p conversion method.
Page 452: Exporting For The Web And Mobile Devices
Moving assets between Adobe Premiere Pro and Adobe Flash In Adobe Premiere Pro, you can add Flash cue point markers to a timeline. Flash cue point markers serve as cue points in a rich media application. There are two types of cue point markers: event and navigational cue point markers. You can use navigational cue point markers to navigate to different sections of FLV and F4V files, and to trigger the display of onscreen texts.
Page 453 Alternatively, you can use Flash to create animations for use in movies. You can create an animation in Flash. You can export the animation as an FLV or F4V file. Then, you can import the FLV or F4V file into Adobe Premiere Pro for editing.
Page 454 Experiment with the various Adobe Media Encoder presets to find the best setting for your project. Use the following list of common frame sizes (in pixels) as a guide:...
Page 455 • Use the presets available in Adobe Media Encoder. Several presets are designed for export to 3GPP mobile devices in Adobe Media Encoder. 3GPP presets come in standard sizes: 176 x 144 (QCIF), 320 x 240, and 352 x 288.
Page 456: Chapter 15: Keyboard Shortcuts
Finding and customizing 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. Find keyboard shortcuts ❖...
Page 457 USING ADOBE PREMIERE PRO Keyboard shortcuts • Shortcuts For Final Cut Pro 7.0 In the Keyboard Customization dialog box, choose an option from the menu: Displays commands found in the menu bar, organized by category. Application Displays commands associated with panels and menus.
Page 458: Default Keyboard Shortcuts
USING ADOBE PREMIERE PRO Keyboard shortcuts Select a set of keyboard shortcuts from the Set drop-down menu in the Keyboard Customization dialog or Keyboard Shortcuts in Premiere Pro CS5.5 (Mac OS). Click the Clipboard button. Start a new document in a text editor.
Page 459 “@” key on Japanese keyboards Maximizes the panel that is acitve or selected, Shift+‘ [accent] (US English keyboards), or the key regardless of where the mouse pointer is. (Adobe to the left of the numeral “1” key (non-US English Premiere Pro CS5.5.) keyboards), or the “@”...
Page 460 USING ADOBE PREMIERE PRO Keyboard shortcuts 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...
Page 461 USING ADOBE PREMIERE PRO Keyboard shortcuts Result Windows Mac OS Clear Out point Edit audio or video In point or Out point Alt-drag In point or Out Option-drag In point or Out independently point point Go to In point Go to Out point...
Page 462 USING ADOBE PREMIERE PRO Keyboard shortcuts Result Windows Mac OS Play in reverse one frame at a time Hold K while pressing J Hold K while pressing J Play in reverse slowly (8 fps) Hold down K+J Hold down K+J...
Page 463 USING ADOBE PREMIERE PRO Keyboard shortcuts Titler (keyboard shortcuts) Result Windows Mac OS Arc tool 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...
Page 464 USING ADOBE PREMIERE PRO Keyboard shortcuts Result Windows Mac OS Rectangle tool Rotation tool Selection tool Type tool Vertical Type tool Wedge tool Trim panel (keyboard shortcuts) Result Windows Mac OS Focus on both Outgoing and Incoming sides Alt+1 Option+1...

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Premiere pro cs5 Premiere pro cs5.5

Adobe 25520388 - Premiere Pro - PC Using Manual

Chapter 1: What's New

Chapter 2: User Interface

Chapter 3: Workflows and Setup

Chapter 4: Project Setup

Chapter 5: Importing, Transferring, Capturing, and Digitizing

Chapter 6: Managing Assets

Chapter 7: Monitoring Assets

Chapter 8: Editing Sequences and Clips

Chapter 9: Editing Audio

Chapter 10: Titling and the Titler

Chapter 11: Effects and Transitions

Chapter 12: Animation and Keyframes

Chapter 13: Compositing

Chapter 14: Exporting

Chapter 15: Keyboard Shortcuts

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