Adobe 65021048 User Manual
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Adobe 65021048 User Manual

Adobe 65021048 User Manual

Premiere pro cs4
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PRO CS 3
ADOBE
PREMIERE
®
®

USER GUIDE

April 1, 2008

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  • Page 1: User Guide

    PRO CS 3 ADOBE PREMIERE ® ® USER GUIDE April 1, 2008...
  • Page 2 The content of this guide is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incor- porated.

  • Page 3: Table Of Contents

    ................1 About Adobe Help .
  • Page 4 Editing audio in Adobe Soundbooth ........
  • Page 5 Chapter 12: Animation Keyframing effects ..............282 Activating and selecting keyframes .
  • Page 6 Adobe Media Encoder basics ............416 Export settings .

  • Page 7: Chapter 1: Getting Started

    Note: For more information, see the Read Me file on the installation disc. Activate the software If you have a single-user retail license for your Adobe software, you will be asked to activate your software; this is a simple, anonymous process that you must complete within 30 days of starting the software.

  • Page 8: About Adobe Help

    LiveDocs Help includes all the content from in-product Help, plus updates and links to additional instructional content available on the web. For some products, you can also add comments to the topics in LiveDocs Help. Find LiveDocs Help for your product in the Adobe Help Resource Center, at www.adobe.com/go/documentation. April 1, 2008...
  • Page 9 Topics may contain links to the Help systems of other Adobe products or to additional content on the web. • Some topics are shared across two or more products. For instance, if you see a Help topic with an Adobe Photoshop® CS3 icon and an Adobe After Effects® CS3 icon, you know that the topic either describes functionality that is similar in the two products or describes cross-product workflows.
  • Page 10 A. Back/Forward buttons (previously visited links) B. Expandable subtopics C. Icons indicating shared topic D. Previous/Next buttons (topics in sequential order) Accessibility features Adobe Help content is accessible to people with disabilities—such as mobility impairments, blindness, and low vision. In-product Help supports these standard accessibility features: •...

  • Page 11: Resources

    The Adobe Creative Suite 3 Video Workshop offers over 200 training videos covering a wide range of subjects for print, web, and video professionals. You can use the Adobe Video Workshop to learn about any Creative Suite 3 product. Many videos show you how to use Adobe applications together.
  • Page 12 When you start the Adobe Video Workshop, you choose the products you want to learn and the subjects you want to view. You can see details about each video to focus and direct your learning. Community of presenters With this release, Adobe Systems invited the community of its users to share their expertise and insights. Adobe and lynda.com present tutorials, tips, and tricks from leading designers and developers such as Joseph Lowery, Katrin...
  • Page 13 Bridge Home, a new destination in Adobe Bridge CS3, provides up-to-date information on all your Adobe Creative Suite 3 software in one convenient location. Start Adobe Bridge, then click the Bridge Home icon at the top of the Favorites panel to access the latest tips, news, and resources for your Creative Suite tools.

  • Page 14: User Communities

    Visit the Adobe Support website, at www.adobe.com/support, to find troubleshooting information for your product and to learn about free and paid technical support options. Click the Training link for access to Adobe Press books, a variety of training resources, Adobe software certification programs, and more.
  • Page 15 Extras You have access to a wide variety of resources that will help you make the most of your Adobe software. Some of these resources are installed on your computer during the setup process; additional helpful samples and documents are included on the installation or content disc.

  • Page 16: Adobe Labs

    For more free content, visit www.adobe.com/go/exchange, an online community where users download and share thousands of free actions, extensions, plug-ins, and other content for use with Adobe products. Adobe Labs Adobe Labs gives you the opportunity to experience and evaluate new and emerging technologies and products from Adobe. Vel:...

  • Page 17: What's New

    Here's a quick look at some of the new features that help make Adobe Premiere Pro CS3 an integral part of Adobe's comprehensive solution for even the most demanding productions.
  • Page 18 Encode video and audio for Flash projects and web Flash Video export with markers converted to cue points playback with direct Flash Video (FLV) export. Adobe Premiere Pro timeline markers become Flash cue points that trigger interactivity and navigation. Create Flash Video with ease.

  • Page 19: Chapter 2: Workspace

    As you rearrange panels, the other panels resize automatically to fit the window. You can use floating windows to create a workspace more like those in previous versions of Adobe applications, or to place panels on multiple monitors.
  • Page 20 User Guide 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 21 Drag panel gripper to move one panel • To move an entire group, drag the group gripper at the upper-right corner onto the desired drop zone. Drag group gripper to move entire group April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 22 When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window. You can use floating windows to make use of a secondary monitor, or to create a workspace like those in earlier versions of Adobe applications. ❖...

  • Page 23: Working With Multiple Monitors

    Monitor configurations are stored in the workspace. See also “Dock, group, or float panels” on page 14 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 24: Tools, Clip Details, And Menus

    Note: The Selection tool is the default tool. It’s used for everything other than specialized functions. If the program isn’t responding as you expect, make sure that the Selection tool is selected. . However, the Selection tool icon April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 25 Select this tool to zoom in or out in a Timeline viewing area. Click in the viewing area to zoom in by one Zoom Tool increment. Alt-click (Windows) or Option-click (Mac OS) to zoom out by one increment. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 26 Panel menus display commands relative to the active panel. • To display panel menus, click the triangle • To display context menus, right-click a panel. in the upper right corner of the panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 27: Chapter 3: Projects

    Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each special effect. Adobe Premiere Pro CS3 creates a folder on your hard disk at the start of each new project.

  • Page 28: Open A Project

    Adobe Premiere Pro for Windows can open project files created with earlier versions of Adobe 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 29 Offline All Note: Do not delete source files while you are using them as clips in an Adobe Premiere Pro project unless they were captured using device control and you plan to recapture them. After you deliver the final movie, you can delete source files.
  • Page 30 Realtime Playback, Export, 24P Conversion Method, and Desktop Display Mode options. You can also choose whether to disable video output when Adobe Premiere Pro is in the background, and whether to enable aspect ratio correction on external devices.
  • Page 31 (See scanning” on page 125) Adobe Premiere Pro can display any of several formats of timecode. You may want to see Display Format (Video) the project’s timecode in a film format, for example, if you are editing footage captured from film; or in simple frame numbers if your assets were imported from an animation program.
  • Page 32 Desktop editing mode for the web or for some presentation software. If your project will contain high-bit-depth assets generated by programs such as Adobe Photoshop, or high-definition camcorders, select Maximum Bit Depth to make Adobe Premiere Pro make use of all the color information in those assets when processing effects or gener- ating preview files.
  • Page 33 Uses still images efficiently in sequences. For example, if a still image has a duration of 2 seconds in Optimize Stills a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Deselect this option if sequences exhibit playback problems when displaying still images.

  • Page 34: Aspect Ratios

    You set the frame and pixel aspect ratios for an Adobe Premiere Pro project when you create it. Once they are set, you cannot change them for that project. You can, however, use assets created with different aspect ratios in that project.
  • Page 35 16:9 frame behind the narrower 4:3 frame so that important action is visible in the 4:3 frame (called pan & scan). In Adobe Premiere Pro, you can implement either technique by using Motion effect properties such as Position and Scale.
  • Page 36 0.9 (nonsquare). DV pixels, which are always rectangular, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video. Adobe Premiere Pro displays a clip’s pixel aspect ratio next to the clip’s image thumbnail in the Project panel.
  • Page 37 You can use the Scale control to set the size of the asset’s frame within the project’s frame. However, to preserve the asset’s frame aspect ratio, Adobe Premiere Pro often needs either to crop the asset or to frame it within black bars.
  • Page 38 The project settings preset you choose when you create a project sets the frame and pixel aspect ratios for the project. You can’t change these after you save the project file, but you can change the pixel aspect ratio that Adobe Premiere Pro assumes for individual assets.

  • Page 39: Special Projects

    When you are done editing, you can use the Adobe Media Encoder to export the 24p movie from Adobe Premiere Pro to Adobe Encore CS3. You can open it in Encore, author your DVD, then master and burn the project as a 24p MPEG-2 stream.
  • Page 40 DVCPROHD > 720p folders. Select a location, type a name for your project, and click OK. Note: If you capture 24p footage, Adobe Premiere Pro recognizes the footage as 24p and treats it accordingly, regardless of your project settings. Set 24p playback options Choose Project >...
  • Page 41 Disable 24p pulldown to simulate film-video transfer By default, Adobe Premiere Pro uses a 24p pulldown scheme to playback 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film trans- ferred to video or broadcast, without frame interpolation.
  • Page 42 You can edit widescreen footage shot in DV, HDV, or HD formats. To display and play back widescreen assets correctly, you must set your project settings to accomodate widescreen assets. When you are done editing your movie, use Adobe Media Encoder to output 3GP files with the correct audio and video characteristics for the target device.

  • Page 43: Workflows

    Workflows Basic workflow Whether you use Adobe Premiere Pro to edit video for broadcast, DVD, or the web, you’re likely to follow a similar workflow. For a video about the basic workflow, see www.adobe.com/go/vid0230. 1. Shoot video with Adobe OnLocation Adjust the video signal coming from your camcorder before you shoot, and then shoot directly to your hard drive with Adobe OnLocation, the signal monitoring application bundled with Adobe Premiere Pro.
  • Page 44 2. Start or open a project Open an existing project, or start a new one from the Adobe Premiere Pro Quickstart screen. When starting a new project, you can specify the television standard, video format, and other settings for your project. (See “About...
  • Page 45 “About capturing, digitizing, and importing” on page 52.) You can also use Adobe Bridge to organize and find your media files, and then use the Place command in Adobe Bridge to place the files directly into Adobe 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 46 5. Add titles Using the Adobe Premiere Pro full-featured Titler, create stylish still titles, title rolls, or title crawls that you can easily superimpose over video. If you prefer, you can modify any of a wide range of provided title templates. As with any clip, you can edit, fade, animate, or add effects to the titles in a sequence.
  • Page 47 ADOBE PREMIERE PRO CS3 User Guide Titler 6. 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 48 For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Adobe Premiere Pro saves your adjustments in real time, on the fly. With a supported sound card, you can record audio through the sound mixer, or mix audio for 5.1 surround sound.
  • Page 49 9. 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 MPEG2, MPEG4, Adobe Flash Video, and other codecs, to the needs of your viewing audience.

  • Page 50: Cross-Platform Workflow

    You can burn the project to disc, or you can save it to a DVD image file, a set of DVD folders, or DVD master files on DLT tape. Alternately, you can export a DVD-compliant MPEG-2 file from Adobe Premiere Pro that you can use to author a DVD in most DVD-authoring applications.

  • Page 51: About Adobe Bridge

    See also Editing in a multi-platform environment Cross-application workflows You can make use of various other Adobe applications to enhance or modify the assets used in an Adobe Premiere Pro project. • Launch Adobe Bridge from within Adobe Premiere Pro, use Adobe Bridge to organize, tag and find assets, and then use it to place them in various applications, including Adobe Premiere Pro, for modification.
  • Page 52 Photoshop. You can also search leading stock libraries and download royalty-free images by way of Adobe Stock Photos in Adobe Bridge.

  • Page 53: Chapter 4: Setting Up, And Bringing In Assets

    About setting up your system To use the full range of features in Adobe Premiere Pro CS3, you’ll probably need to connect additional equipment to your computer. Most editing workflows, for example, require connections with a camcorder or VTR, a television monitor, and sometimes a device controller.
  • Page 54 Start Adobe Premiere Pro, and, on the Welcome screen, click New Project. In the Load Preset panel of the New Project dialog box, select the DV or HDV preset that matches the format of your source footage. Browse to a location, and type a name for the project file. Then click OK.
  • Page 55 In the Load Preset panel of the New Project dialog box, select the SDI or component preset that matches the format of your source footage. Adobe Premiere Pro does not provide these presets. They are provided by the manufacturers of SDI and component capture cards and devices, and must be installed with those cards and devices.
  • Page 56 Specify scratch disks to improve system performance When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats.
  • Page 57 • Set up scratch disks on one or more separate hard disks. In Adobe Premiere Pro, it’s possible to set up each type of scratch disk to its own disk (for example, one disk for captured video and another for captured audio).

  • Page 58: Bringing Assets Into A Project

    (for example, FireWire or SDI), can capture digital video from tape and save it to disk as files that you can then add to your project. You can use Adobe After Effects to start Adobe Premiere Pro and start the capture process.

  • Page 59: Capturing And Digitizing

    You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Adobe Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port.

  • Page 60: Capturing Hd Video

    They connect to your source device through RS-232 or RS-422 ports, enabling you to control the device through Adobe Premiere Pro’s Capture panel and to perform batch capturing. Refer to the instructions included with your camcorder and digitizer/capture card. For information on troubleshooting analog video...
  • Page 61 About capture card settings Some of the capture settings you see in Adobe Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because of the differences among brands of cards, specific options and supported formats can vary.

  • Page 62: Capturing Content For Dvd

    If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source. To help determine the effects of your compression settings on the data rate of the captured video, use the Adobe Premiere Pro Data Rate graph. (For more information, see rate”...

  • Page 63: File Size Limits

    File size limits Adobe Premiere Pro does not limit the size of files. However, your capture card, operating system, or hard disk may set such a limit. Check your capture card and hard disk documentation for information on support of large files.
  • Page 64 Capture panel to log each clip and then use the Batch Capture command to record logged clips automatically. Adobe Premiere Pro controls devices through its built-in support of IEEE 1394 (FireWire, i.Link) and its support, on Windows only, of compatible RS-232 and RS-422 controllers. Regardless of type, if your device isn’t automati- cally recognized, you need to set it up.
  • Page 65 Set up a device for device control Adobe Premiere Pro supports the control of devices such as camcorders and VTRs. It controls DV and HDV devices by way of IEEE 1394 (FireWire, i.Link) connections and, on Windows only, serially controlled devices by way of RS-232 or RS-422 controllers that might be installed on a given computer.
  • Page 66 Capture without device control If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture video manually. You have to operate both the playback device controls and the Capture panel controls in Adobe Premiere Pro.
  • Page 67 In the Capture panel, make sure that the device is online, as indicated above the preview. Insert a tape into the device. Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two tapes the same name.
  • Page 68 Time/Date stamp, such as those caused when you press the camera’s pause button while recording. When Scene Detect is on and you perform a capture, Adobe Premiere Pro CS3 automati- cally captures a separate file (Windows) or creates a master clip with a subclip (Mac OS) at each scene break it detects.

  • Page 69: Batch Capturing

    Adobe Premiere Pro CS3 will capture a separate file for each scene it detects (Windows), or it will capture a master clip for the duration of the capture, with a subclip for each scene, placing all subclips into a new bin (Mac OS).
  • Page 70 In the Capture panel, make sure that your device is online, as indicated above the preview. Insert a tape into your device. Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two tapes you log the same name.
  • Page 71 Click the Log Clip button in the Timecode area of the Logging pane to log the clip you identified. Name the clip when prompted. Adobe Premiere Pro logs the clip by placing an offline file for it in the Project panel.
  • Page 72 For example, if a clip’s settings specify capture at a frame size of 720 x 480 in a project with a frame size of 320 x 240, Adobe Premiere Pro captures the clip at 720 x 480 unless you change its default.
  • Page 73 Each clip’s Status must be Offline. Verify the status in the Project panel List view. If a clip is not offline, select it in the Project panel and choose Project > Unlink Media. If you select multiple clips and some are online, Adobe Premiere Pro captures the offline files only.
  • Page 74 When you import a batch list, the order of fields in the list must be as follows: tape name, In point, Out point, clip name, and comment. When you export offline files as a batch list, Adobe Premiere Pro orders the fields as follows: tape name, In point, Out point, clip name, log note, description, scene, and shot/take.
  • Page 75 For Tape Name, type the name of the tape containing the source video for the offline clip. For File Name, type the name of the file as you want it to appear on disk when you capture it using Adobe Premiere Pro.

  • Page 76: Timecode

    In editing, if you log a capture In point such as 00:00:01:09 but that number occurs on the tape two or three times because of timecode restarts, Adobe Premiere Pro can’t be certain which 00:00:01:09 is the place to start its capture.
  • Page 77 Note: Scene Detect recognizes the starting and stopping points for each shot by looking for jumps in the timestamps. Because copying a tape this way creates a single clip with a continuous timestamp, you can’t use Scene Detect when you capture the copy in Adobe Premiere Pro. Capturing timecode The timecode of source video is captured when you use device control.

  • Page 78: 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 the Timeline panel. Adobe Premiere Pro provides many ways to enter timecode.

  • Page 79: Online And Offline Editing

    You can complete an offline edit of, for example, an HD project with Adobe Premiere Pro and then export your project to the Advanced Authoring Format (AAF) or EDL for transfer to an editing system with more powerful hardware.

  • Page 80: Importing Files

    Import files You can import video, audio, and still files in a variety of file formats into an Adobe Premiere Pro project. You can import a single file, multiple files, or an entire folder. Frame sizes cannot exceed 4096x4096 pixels.
  • Page 81 Bridge” on page 45 File formats supported for import Adobe Premiere Pro can import a number of video and audio formats. It also supports 10-bit color depth, sometimes useful for editing standard and high-definition footage. File format support is provided by plug-in software modules. Most of these software modules are installed automat- ically with Adobe Premiere Pro.
  • Page 82 Supported still-image and sequence file formats Adobe Premiere Pro supports 8-bit per-channel (4 bytes per pixel) and 16-bit per-channel (8 bytes per pixel) still- image files. It converts images with lower bit-depths to 8-bits per channel and images with higher bit-depths to 16- bits per channel on import.

  • Page 83: Importing Digital Audio

    You can use CD audio (CDA) files in a project, but before you can import them into Adobe Premiere Pro, you need to convert them to a supported file format, such as WAV or AIFF. You can convert CDA files using an audio appli- cation such as Adobe Audition®.
  • Page 84 • Set the pixel dimensions to the resolution you will use in Adobe Premiere Pro. If you plan to scale the image over time, set image dimensions that provide enough detail at the largest size the image has in the project.
  • Page 85 • Save the file using the correct naming convention. For example, if you plan to import the file into Adobe Premiere Pro on Windows, use a three-character filename extension. • When you prepare still images in applications that support color management, such as Photoshop, colors may appear more consistent between the application and Adobe Premiere Pro if you prepare images in a video-friendly color space, such as sRGB or NTSC RGB.
  • Page 86 Converting layers into a sequence makes it easy to set up graphics using layers in Photoshop or Illustrator. When Adobe Premiere Pro converts layers to a sequence, the sequence is imported into the Project panel as a bin; each layer in the file becomes an individual clip in the bin. Each clip’s name consists of the layer name followed by the name of the file that contained it.
  • Page 87 Importing earlier Adobe Premiere Pro projects You can add the contents of an Adobe Premiere 6.0 or 6.5 project, or the contents of a project made with an earlier version of Adobe Premiere Pro into an open Adobe Premiere Pro project, on Windows only. The imported project’s clips and sequences are added to the Project panel in a bin named after the imported project.
  • Page 88 (Optional) Copy the entire contents of one or more P2 cards, XDCAM or XDCAM EX media to a hard disk. Though it is possible to import assets into Adobe Premiere Pro directly from a these media, it is usually more efficient to copy the contents of any of them to a hard disk before importing.
  • Page 89 Adobe Premiere Pro imports all of the spanned clips within a single shot as a single clip. It will import all the clips within a shot on a card when you select any one of them, provided none of the spanned clips is missing and the relevant XML is present.

  • Page 90: Chapter 5: Managing And Viewing Assets

    List View and Icon View in the Project panel, and use the latter to rearrange assets in a bin. You can quickly locate any asset by typing part of its name into the Find box. Finally, you can quickly show any assets in Adobe Bridge where you can use an even greater variety of asset-management tools and share your assets between applications.
  • Page 91 To move a column to the left in List view, select its name and click Move Up. To move it to the right, click Move Down. Note: If you can’t locate or change a column attribute in the Edit Columns dialog box, the attribute is locked by Adobe Premiere Pro and cannot be changed.
  • Page 92 Note: In Adobe 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 93: Organizing Assets With The Project Panel

    To display the contents of a bin, in List view, click the triangle beside the Bin icon to expand it, or double-click the bin. at the bottom of the Project panel. at the bottom of the Project panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 94 To edit label names or colors, choose Edit > Preferences > Label Colors (Windows) or Premiere Pro > Preferences > Label Colors (Mac OS). Click a color swatch to edit a color. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 95: Working With Assets

    About clip properties Adobe Premiere Pro includes clip analysis tools that you can use to evaluate a file in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a web server, you can use clip analysis tools to determine whether a clip you exported has an appropriate data rate for Internet distribution.

  • Page 96: 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 Adobe Premiere Pro. Whenever you rename a clip in Adobe Premiere Pro, the original file and file name remain untouched on your hard disk.
  • Page 97 Offline File, Timecode, Interpret Footage, Field Options and Audio Channel Mapping] You can use the Interpret Footage command to change the frame rate that Adobe Premiere Pro assumes for a clip. Changing the frame rate changes the original duration proportionally. For example, if you set a 10-second, 24-fps clip to 48 fps, it becomes half as long, with a new duration of 5 seconds.

  • Page 98: Work With Proxy Files

    ADOBE PREMIERE PRO CS3 User Guide Work with proxy files About proxy files [F8488 Proxy Editing] Create proxy files from the Project panel [F8488 Proxy Editing] Create proxy files from the Timeline [F8488 Proxy Editing] Delete a proxy file [F8488 Proxy Editing]...
  • Page 99 Double-click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor. The clip appears in the Source Monitor and its name is added to the Source menu. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 100 In and Out points by dragging their icons in a time ruler. Shows the location of the current frame in each monitor’s time ruler. The CTI is the Current-time indicator (CTI) light blue triangle in the ruler. in the Source Monitor tab. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 101 The standard action- and title-safe margins are 10% and 20%, respectively. However, you can change the dimen- sions of the safe zones in the Project Settings dialog box. (See “Adjust project settings and presets” on page 23.) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 102: Playing Assets

    Use the Source Monitor controls to play or cue a clip. Use the Program Monitor controls to play or view the active sequence. , or click the panel menu and choose a display Monitor” on page 99. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 103 A. Shuttle Slider B. Jog Disk , and then click the Play button , and then click the Play In To again to deselect it and prevent looping. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide or press K or the . Click...
  • Page 104 , or hold down the K key and tap the J key, or press the , or press Shift+ the left arrow key. in the Source Monitor. in the Source Monitor. Timeline]” on page 101 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 105: Reference Monitor

    Both Monitors show the same frame. Moving the current-time indicator Program Monitor, or the Timeline will move the current-time indicators in the other two to the same frame. in either the Reference Monitor, the April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 106: Chapter 6: Editing A Sequence

    6. Preview the sequence. As you assemble a sequence, you can preview it in the Program Monitor. Adobe Premiere Pro can play back the assembled sequence in real time as you build it, but in some cases you may need to render the sequence for better playback.
  • Page 107 As you assemble and trim clips into a sequence, you can use the preset editing workspace to arrange Adobe Premiere Pro panels. Choose Window > Workspace > Editing. For more information, see the tutorial on trimming clips at http://www.adobe.com/designcenter/. Source clips, clip instances, and subclips You can use clips as source clips, clip instances, subclips, or duplicate clips.
  • Page 108 ADOBE PREMIERE PRO CS3 User Guide Each sequence in a project can appear as a tab in a single Timeline panel, or in a separate Timeline panel. A sequence must contain at least one video track and one audio track. Multiple video tracks are used to superimpose clips.
  • Page 109 Press Shift For example, with 30 fps timecode, if the current-time indicator is at , and then Alt-click (Windows) or Option- . To zoom out, drag the zoom April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 110 Type a new name for the track, and press Enter (Windows) or Return (Mac OS). “About audio tracks in a sequence” on page 182.) “Add a track while adding a clip” on page 119. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 111 You can expand an audio track to use the audio fade line for either individual clips in that track or for the entire audio track. (for audio) at the left edge of the track. (Each (for video) or the Speaker icon April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 112: Trimming Clips

    (the In point of the first clip and the Out point of the last clip), but not the interior edges (the In and Out points of each clip in the selected range or group). , drag up or down. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide “View keyframes and...
  • Page 113 Note: Viewing in and out frames this way works only with clips that you’ve opened in the Source Monitor from a sequence. Set the In and Out points. Drag the In/Out Grip (textured area at the center of the shaded span between the In and Out points). points” on page 121.) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 114 You do not need to hold down the Alt (Windows) or Option (Mac OS) key once you initiate the trim. To ripple trim a clip, press Ctrl (Windows) or Command (Mac OS) while dragging. in the Source Monitor. appears. appears. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide and the Go To Previous...
  • Page 115 Drag the current-time indicator to the place where you want to set the In Point or Out Point of the clip. Press the keyboard command you assigned to Trim In Point To CTI or Trim Out Point To CTI. edits” on page 111 and “Perform slip and slide April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide edits” on...
  • Page 116 ADOBE PREMIERE PRO CS3 User Guide About rolling and ripple edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as rolling edits and ripple edits. By using specialized tools, you can make adjustments in a single action that would otherwise require multiple steps to accomplish.
  • Page 117 Click the timecode display between the views, type a valid timecode number to trim the edges of both clips to that frame, and press Enter (Windows) or Return (Mac OS). April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide ; then drag left or...
  • Page 118 In point), type a valid timecode number to trim the corresponding clip to that frame, and press Enter (Windows) or Return (Mac OS). appears, and drag left or right. Subsequent clips in the track shift in April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide or Trim-in icon respec-...
  • Page 119 In and Out points later in the clip. Adobe Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration.
  • Page 120 In point of the following clip later in time. When you release the mouse button, Adobe Premiere Pro updates the In and Out points for the adjacent clips, displaying the result in the Program Monitor and maintaining the clip and sequence duration. The only change to the clip you moved is its position in the sequence.

  • Page 121: Assembling A Sequence

    With an insert edit, adding a clip to the sequence forces any clips later in time to shift forward to accommodate the new clip. When dragging a clip, press the Ctrl (Windows) or Command (Mac OS) key to shift into insert mode. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 122 However, you can choose to target a video track only or an audio track only. Click the track you want to target in the track header area of the Timeline panel. The track header area appears highlighted and has rounded corners. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 123 To make clip edges align when you drag them, make sure that the Snap button “About audio tracks in a sequence” on page 182). “Working with In and Out “Specify source tracks is active in the Timeline panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide points” on...
  • Page 124 If you choose At Unnumbered Markers, clips are placed at unnumbered sequence markers. Choosing At Unnumbered Markers makes the Transitions options unavailable. . Arrows appear at the insertion point in all tracks. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide . Arrows appear at “Change Project...
  • Page 125 Drag a clip from the Project panel or Source Monitor into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Adobe Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip.
  • Page 126 In a four-point edit, you mark source In and Out points and sequence In and Out points. A four-point edit is useful when the starting and ending frames in both the source clip and sequence are critical. If the marked source and sequence durations are different, Adobe Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it.
  • Page 127 Note: Specifying a source track affects a clip only while adding it to a sequence. It doesn’t change the state of clips or their source media. Set or remove sequence In and Out points You can use In and Out points in a sequence to help you place and rearrange clips. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 128: Correcting Mistakes

    Correct mistakes In case you change your mind or make a mistake, Adobe 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 129 Premiere Auto-Save folder. The number of previous versions saved depends on the Auto Save preference settings. • To stop a change that Adobe Premiere Pro is processing (for example, when you see a progress bar), press Esc. • To close a dialog box without applying changes, click Cancel.

  • Page 130: Remove Alerts With The Events Panel

    Scale assets When you drag an asset into a sequence, by default Adobe Premiere Pro preserves its frame size and centers the asset in the program frame. Alternatively, you can automatically scale imported assets to the project’s default frame size.
  • Page 131 ADOBE PREMIERE PRO CS3 User Guide Interlaced video, noninterlaced video, and progressive scanning Interlacing is a technique developed for transmitting standard-resolution television signals using limited bandwidth. In an interlaced system, only half the number of horizontal lines for each frame of video are transmitted at a time.
  • Page 132 “Adjust project settings and presets” on page 23 View the total duration of selected clips Make sure that the Info panel is visible. If it is not, choose Window > Info. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 133: Change Clip Speed

    So naturally, a change in speed results in a corresponding change in duration. When you change the speed of a clip containing interlaced fields, you may need to adjust how Adobe Premiere Pro treats the fields, especially when the speed drops below 100% of the original speed. (See non-interlaced clips”...
  • Page 134 To recover these frames, create a gap after the clip and trim its right edge to reveal them. to unlink speed and duration. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 135 ADOBE PREMIERE PRO CS3 User Guide Blend frames for smooth motion Motion in a clip may appear jerky when you change the speed of a clip, or output to a different frame rate. Make sure that frame blending is on to create new interpolated frames that smooth the motion. Frame blending is turned on by default.
  • Page 136 Adjustment handles also appear on the rubberband, in the middle of the speed-change transition. Moving a speed keyframe up or down. Note its separable halves. A. Speed keyframe B. Rubberband April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 137 After setting a speed keyframe, you can move it to a different location in a clip. Move an unsplit speed keyframe ❖ In the Timeline, Alt-click (Windows) or Option-click (Mac OS) the unsplit speed keyframe, and drag it into its new position. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 138 A gray area appears between the halves of the speed keyframe, indicating the length of the speed transition. The rubberband forms a ramp between the two halves, indicating a gradual change in speed occurring between them. A blue curve control appears in the gray area. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 139 100% speed demarcation. A white speed-control track appears in the upper portion of the clip, just below the clip title bar. Ctrl-click (Windows) or Command-click (Mac OS) on the rubberband to create a speed keyframe April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 140 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. Select a clip in the Timeline panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 141: Working With Clips In A Sequence

    A menu will popup showing the timecode location for the clip for any sequence in which it is used. The locations of a clip in the Clip Usage menu of the Project panel April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 142: Select One Or More Clips

    To select clips in a track independently of its linked video or audio, Alt-click (Windows) or Option-click (Mac OS) using the Track Select tool and click a clip in the Timeline panel. and Alt-click (Windows) or Option- and Shift-click each clip you want to select. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide and click the...
  • Page 143 ❖ At the upper left of the Timeline panel under the Sequence tab, click the Snap button to deselect it. “Targeting tracks” on page 116. to select it. Click it again April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 144: Rearranging Clips In A Sequence

    (Windows) or Command (Mac OS) as you release the mouse button and drop the clip or clips into a new location. when dragging clips. Pressing Ctrl appears when you drag clips while April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 145 If you want to change effect settings over time, you don’t need to split the clip; you can apply keyframes to a single clip instead. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide appears.
  • Page 146 Select one or more clips in the sequence, and choose Edit > Copy. In the Timeline panel, position the sequence current-time indicator to the point you want to paste a copy of the clip. Select a target track compatible with the copied clip. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 147: Previewing Sequences

    This renders the segment as a new file on the hard drive, which Adobe Premiere Pro can play at the project’s full frame rate.
  • Page 148 Render a preview ❖ Set the work area bar over the area you want to preview, and choose Sequence > Render Work Area, or press Enter (Windows) or Return (Mac OS). April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 149 See the documentation that came with your video card and operating system. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 150 Disable Video Output When Premiere Pro is in the Background Premiere Pro is not the active application on your desktop. “Set 24p playback Disables video to the external monitor if Adobe April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 151 When you render previews, Adobe Premiere Pro creates files on your hard disk. These preview files contain the results of any effects that Adobe Premiere Pro processed during a preview. If you preview the same work area more than once without making any changes, Adobe Premiere Pro instantly plays back the preview files instead of processing the sequence again.

  • Page 152: Chapter 7: Editing: Beyond The Basics

    You can also use sequence markers to specify cue points for Adobe Flash Video movies, or to specify a URL to send a user to a web page. Adobe Premiere Pro also provides Adobe Encore DVD markers that you can add to a sequence to specify scenes, or a menu structure for sequences that you export to Encore.
  • Page 153 To cue the current-time indicator to a sequence marker, select the Program Monitor or Timeline panel, choose Marker > Go To Sequence Marker > [marker]. to the location where you want to set the marker, and or the Timeline panel April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide . (Double-click...
  • Page 154 When using markers for URL links and chapter markers, you can set sequence markers to be longer than one frame in duration. In the Timeline panel, the right side of a sequence marker’s icon extends to indicate its duration. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 155 Premiere Pro will be encoded as Flash 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 156: Editing Audio In The Timeline Panel

    Monitor switch to a sample-based scale. If necessary, expand the audio track containing the clip you want to edit, click the Set Display Style button and choose Show Waveform. one audio sample at a time. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 157 When you do, you can use the video and audio as though they were not linked; even the clip names no longer appear underlined or bear the [V] and [A] labels. Even so, Adobe Premiere Pro keeps track of the link.

  • Page 158: Create Split Edits

    In the Source Monitor, choose Marker > Set Clip Marker, and select Video In, Video Out, Audio In, or Audio Out. Set the remaining video and audio In and Out points. (When you add the clip to a sequence, the video portion starts and ends at different times than the audio.) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 159: Creating Special Clips

    Project panel and choose Universal at the bottom of the Project panel and choose Bars And Tone at the bottom of the Project panel and choose Black Video April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide “Create...

  • Page 160: Multiple Sequences

    Use multiple sequences A single project can contain multiple sequences. All the sequences in a project share the same timebase, which defines how Adobe Premiere Pro calculates time, and which cannot be changed after you create the project. • To set the default settings for new sequences, with the Project panel active, choose Project > Project Settings >...
  • Page 161 • Actions involving a nested sequence may require additional processing time, because nested sequences can contain references to many clips, and Adobe Premiere Pro applies the actions to all of its component clips. • A nested sequence always represents the current state of its source. Changing the content of the source sequence is reflected in the content of nested instances.

  • Page 162: Subclips

    To use a master clip and its subclips in another project, import the project that contains the clips. See also “Source clips, clip instances, and subclips” on page 101 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 163: Editing A Multi-Camera Sequence

    To easily synchronize footage from all cameras, make sure each camera records a sync point using a clapper slate or other technique. Keep each camera recording to maintain synchronization. After you capture the footage in Adobe Premiere Pro, use the following workflow to edit the footage: .
  • Page 164 160 and “Adjust multi-camera edits in the Timeline panel” on page 161.) For a tutorial on how to sync and switch multiple cameras, see www.adobe.com/go/learn_dv_tutorial_multicam. For a video on multi-camera editing, see www.adobe.com/go/vid0234. See also Sync and switch multiple cameras, easily...
  • Page 165 You can mark the sync points by setting similarly numbered markers for each clip or by reassigning each clip’s timecode. (See “Add markers” on page 146 and “Set timecode manually for a clip” on page 72.) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 166 Note: Adobe Premiere Pro uses an overlay edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track. Select the clips you want to synchronize. Target a track (by clicking its track header) to align the other clips to it.
  • Page 167 To replace a clip with footage from another camera, select a clip in the Timeline panel and choose Clip > Multi-Camera > Camera [1,2,3,4]. • Use any of the standard editing tools to make changes in the Timeline panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 168: Working In Other Applications

    Project from the Embedding Options menu. (See Working with Photoshop and Adobe Premiere Pro If you use Photoshop to create still images, you can use Adobe Premiere Pro to make them move and change. You can animate an entire image or any of its layers.
  • Page 169 When importing or exporting a PSD file, Adobe Premiere Pro can preserve individual layers and masks. When you import a PSD file into Adobe Premiere Pro, you can choose whether to import it as a flattened image or with its layers separate and intact.
  • Page 170 The file opens in Photoshop. When you save the file, changes are available in the project. Copy between After Effects and Adobe Premiere Pro You can copy and paste layers and assets between Adobe After Effects and Adobe Premiere Pro. For a video on the workflow between After Effects and Adobe Premiere Pro, see www.adobe.com/go/vid0256.
  • Page 171 Note: If you select multiple layers and the layers don’t overlap in After Effects, they’re placed on the same track in Adobe Premiere Pro. On the other hand, if the layers overlap in After Effects, the order in which you select them deter- mines the order of their track placement in Adobe Premiere Pro.
  • Page 172 After Effects, After Effects retains the Photoshop layer information. You cannot paste Adobe Premiere Pro titles or effects into After Effects, but you can paste text with attributes from the Adobe Premiere Titer into After Effects. Select an asset from the Adobe Premiere Pro Timeline panel.

  • Page 173: Adobe Dynamic Link

    Trace video with Adobe Bridge and Illustrator Live Trace You can quickly trace a subject in a video and fill its outlines with color by using the Live Trace command in Adobe Illustrator and the batch processing function in Adobe Bridge.
  • Page 174 In Adobe Premiere Pro, you can preview the linked composition in the Source Monitor, set In and Out points, add it to a sequence, and use any of the Adobe Premiere Pro tools to edit it. When you add a linked composition that contains both footage and audio layers to a sequence, Adobe Premiere Pro inserts linked video and audio clips in the timeline.
  • Page 175 Adobe Premiere Pro displays the Import Composition dialog box. 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 176 Note: If you change the name of the composition in After Effects after you’ve created a dynamic link to it from Adobe Premiere Pro, Adobe Premiere Pro doesn’t update the linked composition name in the Project panel, but retains the dynamic link.
  • Page 177 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 178: Chapter 8: Transitions

    Chapter 8: Transitions The transitions included with Adobe Premiere Pro provide a variety of ways to replace one clip with another in video or audio tracks. Transition overview About transitions A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but in some cases you might want to transition between shots by phasing out one and phasing in another.
  • Page 179 If you decide to proceed, the transition appears in the Timeline panel with diagonal warning bars through it. Transition using duplicate frames April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 180 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 tions” on page 173.) “Clip handles and transi- April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 181: Adding Transitions

    The default duration of a transition, for either audio or video, is set to 1 second. If a transition contains trimmed frames, but not enough to fill the transition duration, Adobe Premiere Pro adjusts the duration to match the frames.
  • Page 182 When you replace a transition, the alignment and duration are preserved; however, the settings for the old transition are discarded and replaced by the default settings for the new transition. See also “Change transition settings” on page 180 “Add clips to a sequence automatically” on page 118. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 183: Fine-Tuning Transitions

    Note: You can’t change a double-sided transition into a single-sided transition. If you realign a double-sided transition to the start or end of a clip, it will use handles from the adjacent clip. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide . If...
  • Page 184 Note: You can’t move the cut beyond the end of a clip. If both clips do not have trimmed frames extending beyond the cut, you cannot reposition the cut. Double-click the transition in the Timeline panel to open the Effect Controls panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide in the Effect...
  • Page 185 In the A preview area in the Effect Controls panel, drag the small circle to reposition the transition center. (Not all transitions have an adjustable center point.) to the Ripple Edit icon transitions” on page 173.) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide in the Effect or the or the...

  • Page 186: Customizable Transitions

    Gradient Wipe Settings dialog box. Adjust the softness of the transition’s edges by dragging the Softness slider. As you drag the slider to the right, image A increasingly shows through image B. Click OK. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 187 Rows and Columns Specifies how to rotate the rectangles. For example in a checkerboard or spiral pattern. Flip Order Specifies whether to rotate the rectangles vertically or horizontally. Axis Of Rotation April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 188: Chapter 9: Audio

    Chapter 9: Audio In Adobe Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.1 surround channels.
  • Page 189 Note: You can change a master clip’s track format only before you add an instance of the clip to a sequence. Adobe Premiere Pro also lets you remap the output channels or tracks for a clip’s audio channels. For example, you can remap the left channel audio in a stereo clip so that it’s output to the right channel.
  • Page 190 202 Processing order for audio As you edit sequences, Adobe Premiere Pro processes audio in the following order, from first to last: • Gain adjustments applied to clips by using the Clip > Audio Options > Audio Gain command.
  • Page 191 The Audio Mixer represents the tracks in the active sequence only, not all project-wide tracks. If you want to create a master project mix from multiple sequences, set up a master sequence and nest other sequences within it. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 192 To display hardware input levels on the VU meters (not track levels in Adobe Premiere Pro), choose Meter Input(s) Only. If this option is chosen, you can still monitor audio in Adobe Premiere Pro for all tracks that aren’t being recorded.
  • Page 193 View audio data To help you view and edit the audio settings of any clip or track, Adobe Premiere Pro provides multiple views of the same audio data. You can view and edit volume or effect values for either tracks or clips in the Audio Mixer or in the Timeline panel.

  • Page 194: Working With Clips, Channels, And Tracks

    Mono added to a sequence. For example, when you change a clip’s track format from Stereo or 5.1 to Mono, Adobe Premiere Pro maps each channel to a separate mono track. You can apply the Mono track format to clips containing any number of audio channels.
  • Page 195 Mono As Stereo added to a sequence. Adobe Premiere Pro duplicates the audio from mono source channels and places it in the left and right channels of the stereo tracks. You can apply the Mono As Stereo format to clips containing any number of audio channels.
  • Page 196 If necessary, click the 5.1 channel icons until they map the four source channels in this way: • Ch. 1 to Left-Front Channel. • Ch. 2 to Right-Front Channel. • Ch. 3 to Left-Rear Channel. • Ch. 4 to Right-Rear Channel. Click OK. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 197 In the Project panel, select one or more clips containing audio. Choose Clip > Audio Options > Extract Audio. Adobe Premiere Pro generates new audio files containing the extracted audio, with the word “Extracted” added to the end of the filenames.
  • Page 198 192 Break all stereo tracks into mono tracks Adobe Premiere Pro can automatically break out individual stereo and surround channels to discrete monaural clips as each clip is captured or imported. Choose Edit > Preferences > Audio (Windows) or Premiere Pro > Preferences > Audio (Mac OS).
  • Page 199 137 Edit a multi-clip link in the Source Monitor In the Timeline panel, double-click a linked clip. Choose a track from the Track menu to display a specific channel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 200: Recording Audio

    Once you connect input devices and make all preliminary settings, you can use the Audio Mixer in Adobe Premiere Pro to record audio. Use controls in the Audio Mixer to adjust the monitoring levels. An audio clip is created from the recording and is added to both the Timeline and Project panels.
  • Page 201 A. Record Enable button for track B. Record button for Audio Mixer In the Audio Mixer, click the Record button for the sequence. Adobe Premiere Pro prepares the sequence for recording but moves the playhead only when you press the Play button.
  • Page 202 Specifies the ASIO settings for the selected device. The settings in this dialog box are ASIO Settings (Windows only) set by the device and driver you use, not by Adobe Premiere Pro. See the documentation for the ASIO device and driver you use.

  • Page 203: Record Audio

    Choose Edit > Preferences > Audio (Windows) or Premiere Pro > Preferences > Audio (Mac OS). Select Mute Input During Timeline Recording. for the track into which you want to record April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide “Work...

  • Page 204: Adjusting Volume Levels

    Enter a Gain value. (0.0 dB equals the clip’s original gain.) • Click Normalize to optimize a clip’s audio gain automatically. Adobe Premiere Pro examines levels in the clip. It then determines how much to adjust the audio so that the strongest signals in the clip don’t exceed the ceiling level (0dB) and create distortion.
  • Page 205 A keyframe is automatically created at the beginning of the clip’s timeline in the Effect Controls panel. , and choose one of the following from the pop-up at the location for each in the audio track header, and drag the keyframe up (louder) or April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 206 Move the volume slider for any audio track up or down to increase or decrease its volume as you monitor the sound. . Then choose Show Track to play the sequence and monitor its April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 207: Audio Transitions

    You can apply crossfades for audio transitions between clips. An audio fade is analogous to a video transition. For a crossfade, you add an audio transition between two adjacent audio clips on the same track. Adobe Premiere Pro includes two types of crossfade: Constant Gain and Constant Power.

  • Page 208: Applying Effects To Audio

    Note: The Volume effect is a fixed effect that is automatically applied to every sequence clip containing audio. The Volume effect can be adjusted in the Effect Controls panel or by manipulating the graph in the Timeline panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 209 Audio Mixer. The Effects And Sends panel contains Effect Selection pop-up menus to apply up to five track effects. Adobe Premiere Pro processes effects in the order they are listed and feeds the result of an effect into the next effect in the list;...
  • Page 210 Working with VST effects Adobe Premiere Pro supports the Steinberg VST (Virtual Studio Technology) audio plug-in format so that you can add VST audio effects from third-party vendors. Adobe Premiere Pro includes VST plug-in effects that are available in both the Audio Mixer and the Effect Controls panel.
  • Page 211 VSTPlugins folder with plug-ins that are used only by Adobe Premiere Pro. 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 212: Recording Audio Mixes

    Click the clip header toward the top left of an audio clip you changed, and choose from the drop-down menu the type of change you recorded. For example, if you changed the volume, choose Track > Volume. “Audio Mixer automation in the Audio Mixer. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide modes”...
  • Page 213 When you replay the audio with the track’s automation pop-up menu set to Read, Touch, or Latch, Adobe Premiere Pro plays back the track with the adjustments you made. As you make adjust- ments in channels of the Audio Mixer, Adobe Premiere Pro applies the changes to their respective tracks by creating track keyframes in the Timeline panel.

  • Page 214: Panning And Balancing

    Linear Keyframe Thinning keyframes. For example, suppose you are automating a fade from 0 dB to –12 dB. With this option selected, Adobe Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes.
  • Page 215 You can vary the pan setting over time in the Audio Mixer, or in the Timeline panel by applying keyframes to a track’s Pan options. Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C. Center percentage April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 216: Advanced Mixing

    Submixes can help make the best use of your computer’s processing power by allowing you to apply one instance of an effect instead of multiple instances. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 217 100% indicates that the wet signal is output at full strength. The submix volume affects the wet signal, and the send track’s volume affects the dry signal. or a Display Style icon April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 218 In the Effects And Sends panel, click the Send Assignment Selection triangle and choose a send from the pop-up menu. (Optional) Choose the send property you want to edit from the Selected Parameter menu below the selected send property control. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 219 (2 channels) or mono (1 channel). However, downmixing can also occur in a project when you assign track output to a track that has fewer channels. Adobe Premiere Pro provides a 5.1 Mixdown Type option that lets you choose how to translate 5.1 surround audio into stereo or mono audio. You can choose from various combinations of Front channels, Rear channels, and the LFE (low-frequency effects, or subwoofer) channel.

  • Page 220: Editing Audio In Adobe Soundbooth

    In the Audio Mixer, all submixes are grouped to the right of all audio tracks. You can output a track to any submix, but to prevent feedback loops, Adobe Premiere Pro allows a submix to be routed only to a submix to the right of it, or to the master track.
  • Page 221 Edit Source File works on audio-only clips, not those containing video. renders a new audio clip that you edit in Adobe Soundbooth. The edited clip replaces the Render And Replace original clip in the Timeline panel; the original master clip in the Project panel remains untouched. Effects or markers applied to the original sequence clip are inherited by the edited clip.

  • Page 222: Chapter 10: Titles

    Note: Before 2.0, Adobe Premiere Pro saved all titles as independent files separate from the project file. You can import titles created in older versions of Adobe Premiere Pro just as you import any footage. When you save the project, the imported titles are saved with the project.
  • Page 223 If the title you want to use is on your hard disk but not yet part of the current project, you can import it as you would any other source file. Choose File > Import. Select a title and click Open. and choose Title. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 224 Note: In addition to importing Adobe Premiere Pro titles and Adobe 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 225 With a title open, choose Title > Templates. Choose Import File As Template from the Templates menu. Select a file, and click Open (Windows) or Choose (Mac OS). You can import only Adobe Premiere Pro title files (.prtl) as templates.

  • Page 226: Adding Text To 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. 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.
  • Page 227 In the Title Properties panel, click the Font Family triangle to open the drop-down menu, and select a font. or the Vertical Path Type tool . Using the path type tools is similar April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 228 For vertical text, leading is measured from the center of one line of type to the center of the next line. In Adobe Title Designer, the baseline is the line underneath the text. You can apply more than one leading amount within the same paragraph;...
  • Page 229 You can specify a different justification option at each tab stop. Note: Tabs work exclusively to align the characters within text objects. To align entire text or graphic objects, use the Align command. Tab Stops dialog box April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 230: Adding Shapes And Images

    You can use the drawing tools in the Titler to create a variety of shapes, such as rectangles, ellipses, and lines. The Titler includes standard pen tools that resemble those used in Adobe Illustrator and Adobe Photoshop. Titler tools panel A.
  • Page 231 To close a path, click the initial anchor point. A circle appears underneath the pen pointer when it is directly over the initial anchor point. • To leave the path open, Ctrl-click (Windows) or Command-click (Mac OS) anywhere away from all objects, or select a different tool in the Tools panel. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 232 To create an S-shaped curve, drag in the same direction that you dragged to create the previous anchor point. Drawing S curves A. Starting to drag new smooth point B. Dragging in same direction as previous direction line, creating S-shaped curve C. Result after releasing mouse button April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 233 Note: When you position the Pen tool over an anchor point, pressing the Alt key (Windows) or the Option key (Mac OS) temporarily changes the Pen tool into the Convert Anchor Point tool. and position the cursor over the anchor point that you want to convert. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 234: 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.

  • Page 235: Working With Text And Objects In Titles

    A. Horizontal alignment buttons B. Vertical centering button C. Horizontal distribution buttons D. Vertical alignment buttons E. Horizontal centering button F. Vertical distribution buttons Center objects in titles In the Titler, select one or more objects. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 236 Choose Title > Transform > Position and type new X and Y Position values; then click OK. • In the Transform section of the Title Properties panel, enter values for X Position and Y Position. “Adjust the opacity of April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide clips” on...
  • Page 237 Adjust the X value to distort the text along the x axis. Adjust the Y value to distort along the y axis. Note: Distort affects an entire graphic object’s horizontal (X) or vertical (Y) aspect. However, it affects each character in a text object individually. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 238: Adding Fills, Strokes, And Shadows In Titles

    Linear Gradient creates a linear, two-color gradient fill. Radial Gradient creates Linear Gradient or Radial Gradient a circular, two-color gradient fill. “Add a stroke to text or April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide object” on page 234).
  • Page 239 Select Texture in the Title Properties panel. Click the Texture box. Click the Texture swatch and select a file on the hard disk, or navigate to Program Files/Adobe/Premiere Pro [version]/Presets/Textures to open a texture, and then click Open (Windows) or Choose (Mac OS).
  • Page 240 ADOBE PREMIERE PRO CS3 User Guide Rotates the texture in sync with the object. Rotate With Object 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 241 Expand Inner Strokes, Outer Strokes, or both. Select either Inner Stroke or Outer Stroke. From the Title Properties panel menu, choose Delete Stroke. , and then drag to select the text. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 242: Working With Styles

    Pro/3.0/Styles (Mac OS). Because Adobe Premiere Pro stores each style or set of styles as a separate file, you can share styles with other users. If you share styles, make sure that the fonts, textures, and background files used are available on all systems.
  • Page 243 Note: This procedure deletes only the swatch or name from the display area. The style remains in the library. Use the Load Style Library, Reset Style Library, or Replace Style Library command to display the style library again. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 244: Rolling And Crawling Titles

    To save a style library, choose Save Style Library from the Styles menu. All styles visible in the Styles section are saved. Specify a name and location for the style library file and click Save. Adobe Premiere Pro saves style library files with the extension .prsl.
  • Page 245 In the Titler Panel, click the Roll/Crawl options button. For Title Type, specify the kind of title you want, and if necessary, specify Direction and Timing options. Modify or create objects and save the title. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 246: Chapter 11: Applying Effects

    Timeline panel. Note: Adobe Premiere Pro can process all effects at an 8 bits per channel (bpc) color depth in the RGB colorspace. Some effects can be processed at either 16 bpc or 32 bpc floating point depth and some in the YUV colorspace. Choose Project >...
  • Page 247 Bezier curves in the Effect Controls panel. Note: The effects listed in the Effects panel depend on the actual effect files in the language subfolder of the Adobe 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 248 For a current list of third-party plug-ins, go to www.adobe.com/go/learn_dv_plugins. Note: If you use effects not included with Adobe Premiere Pro and you want to open your project on another Adobe Premiere Pro system, you must install the same effects on that system. When you open a project with references to missing effects, Adobe Premiere Pro tells you which effects are missing, marks the effects as offline, and performs any rendering without the effects.

  • Page 249: Applying, Removing, And Organizing Effects

    Working with discontinued effects Discontinued effects residing in projects made in earlier versions of Adobe Premiere or Adobe Premiere Pro will not work when the project is opened in the current version. Newer effects have replaced most of the older effects and contain comparable, if not improved, features.
  • Page 250 In the Effects panel, do one of the following to select an effect: • Expand the Video Effects bin to locate the desired video effect. , or choose New Custom Bin from the Effects panel , choose Delete Custom April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 251 • To paste one or more effects, choose Edit > Paste. • To paste all effects, choose Edit > Paste Attributes. See also “About the Effect Controls panel” on page 246 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 252: Adjusting Effects

    ADOBE PREMIERE PRO CS3 User Guide Adjusting effects About the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip. Fixed effects are included with every clip: the Motion and Opacity effects are listed in the Video Effects section and the Volume effect is listed in the Audio Effects section.
  • Page 253 “Applying audio effects in the Audio Mixer” on page 203 “Edit keyframe graphs” on page 289 “Apply an effect to a clip” on page 244 “Customize keyboard shortcuts” on page 427 “Add markers” on page 146 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 254 Once you have clicked inside the angle control, you can drag outside of it to quickly change the values. . This control is only available if the selected in the track header of a video or audio track, and choose one of the April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 255: Customizing Effect Presets

    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 256 To view the properties of an effect preset, select the preset in the Effects panel, and choose Preset Properties from the Effects panel menu. If you apply a preset to a clip and the preset contains settings for an effect that is already applied to the clip, Adobe Premiere Pro modifies the clip using the following rules: •...

  • Page 257: Motion

    Note: If you have placed the same item in several different custom bins, and you delete that item from one bin, Adobe Premiere Pro deletes each occurrence of the item from the custom and preset bins, and deletes each item from all clips that it affects.
  • Page 258 (Motion effect only) Click the clip in the Program Monitor or click the Transform icon the Effect Controls panel. to a location of a frame within the clip. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide next to next to Motion in...
  • Page 259 Clip in Program Monitor showing a motion path with fast motion (left) compared to slow motion (right) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 260 In the Effect Controls panel, expand the Motion effect and click the Toggle Animation button property you want to define at that point in time. A Keyframe icon appears at the current-time indicator for that property. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide next to each...
  • Page 261 Note: This procedure changes the position value at a keyframe. To change the timing of keyframes, move Keyframe icons in the Effect Controls panel. next to Motion. The clip’s motion path appears in the April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 262 In the Timeline panel, place the current-time indicator at the beginning of a clip. Click on the clip in the Program Monitor. The anchor point at the center of the clip becomes visible. next to the Position control to set the first keyframe. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 263 (Optional) To set the rate of the change in the anchor point location, drag the handles in the anchor point Velocity graph. Dragging a Velocity handle to ease in the change in location of a clip’s anchor point to set the keyframe. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 264: Eliminate Flicker

    You can use the Broadcast Colors effect to adjust a clip’s colors to broadcast standards. When correcting color, it’s useful to use Adobe Premiere Pro’s Vectorscope or waveform scopes (YC Waveform, RGB Parade, and YCbCr Parade) to help you analyze the chroma and luminance in a clip. You can view a scope in a separate Reference Monitor that’s ganged to the Program Monitor so that you can check your video levels as you...
  • Page 265 Displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Vectorscope The Vectorscope is very useful when making color adjustments. Displays the luminance (represented as green in the waveform) and chrominance (represented as YC Waveform blue) values in your clip. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 266 Note: All Color Correction effects have Secondary Color Correction controls except the Fast Color Corrector effect and Video Limiter effect. “Specify a color or range of colors to adjust” on page 271. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide “Define the tonal...
  • Page 267 To color balance by neutralizing a black area in the image, select the Black Balance eyedropper and click an area that’s supposed to be black. “Color balance, angle, and curves” on page 265. “Adjust luminance using levels” on page 266. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 268 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.
  • Page 269 (an image made up of white, grays, and black). Moving the slider to the right increases the saturation. Desaturated image (left); Saturated image (right) See also “Vectorscope” on page 279 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 270 Magnitude from the center, the introduced color is more intense. Drag the Balance Gain handle to fine-tune the intensity of the Balance Magnitude adjustment. You can make the adjustment very subtle. adjust” on page 271. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 271 (Optional) Click the triangle to expand the Secondary Color Correction controls if you want to correct the exposure for a specific color or range of colors. Use the Eyedropper tool or the other Secondary Color Correction controls to specify the colors to correct. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 272 If the clip is already selected in the Timeline panel, you can drag the effect to the Video Effects area of the Effect Controls panel. In the Effect Controls panel, click the triangle to expand the Fast Color Corrector or Three-Way Color Corrector controls. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 273 You can also click the color swatch to open the Adobe Color Picker and select a color to define the medium gray in the image. Maps the sampled tone to the setting of the White Output slider. Click an area in the White Level eyedropper Program Monitor that you want to be the lightest value in the image.
  • Page 274 271 Select a color with the Adobe Color Picker You can use the Adobe Color Picker to set target colors in some color and tonal adjustment effects. Clicking a color swatch in an effect’s controls opens the Adobe Color Picker.
  • Page 275 For HSB, specify hue (H) as an angle, from 0° to 360°, that corresponds to a location on the color wheel. Specify saturation (S) and brightness (B) as percentages (0 to 100). • For RGB, specify component values. • For #, enter a color value in hexadecimal form. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 276 Once you’ve defined the tonal range in the clip, you can use the Tonal Range menu to choose whether to apply the color correction to the shadows, midtones, highlights, or the entire tonal range (Master). Choosing Tonal Range from Output menu to display shadow, midtone, and highlight regions in image. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 277 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 278: Special Color And Luminance Adjustments

    This effect works best when you work between two images with slightly different exposures, such as those shot in identical locations, but on different days, or in slightly different lighting conditions. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 279 (Master). Note: You can also click the color swatch next to an eyedropper tool and use the Adobe Color Picker to select a color. Select the Target eyedropper with the same parameter as the Sample eyedropper. Click an area in the Program Monitor that represents the color information or attribute that you want to correct.
  • Page 280 Click an underlined value, type a value between –200% and +200% in the value box, and press Enter (Windows) or Return (Mac OS). • Click the triangle to expand the Channel Mixer controls, and drag the slider to the left or right. adjust” on page 271. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 281 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 282: Add Lighting Effects

    If a clip is already selected in the Timeline panel, you can drag the Lighting Effects directly to the Video Effects section of the Effect Controls panel. In the Effect Controls panel, click the triangle to expand the Lighting Effects. Click the triangle to expand Light 1. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 283 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 284: Vectorscope And Waveform Monitors

    About the vectorscope and waveform monitors Adobe Premiere Pro has a vectorscope and waveform monitors (YC Waveform, YCbCr Parade, and RGB Parade) to help you output a video program that meets broadcast standards and also assist you in making adjustments based on aesthetic considerations, such as color corrections.
  • Page 285 Adjusts the brightness of the pattern display. It does not affect the video output signal. Intensity Default position. Use to check video input in which standard 75% intensity bars, like those in Adobe Premiere Pro, are used. Shows the entire range of video signal chrominance. Use with video input containing 100% intensity bars.
  • Page 286 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. 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.
  • Page 287 The Intensity control adjusts the brightness of the waveforms. It doesn’t affect the video output signal. RGB Parade scope A. Values B. R waveform C. G waveform D. B waveform E. Range of signal components April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 288: Chapter 12: Animation

    Chapter 12: Animation Using keyframes you can change, or animate, the parameters of most effects over time. Keyframing effects About animating effects Although commonly used to mean “move a figure across the screen,” the word animate is used in motion-picture editing and compositing to mean “change an attribute through time.”...
  • Page 289 In the Effect Controls panel, click the triangle to the left of the effect name to expand the effect you want to view. The keyframes display in the Effect Controls timeline. when the effect is collapsed. Summary keyframes in the Effect Controls panel to show the effects April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 290 ADOBE PREMIERE PRO CS3 User Guide (Optional) If you want to view the Value and Velocity graphs of an effect property’s settings, click the triangle next to the Toggle Animation icon to expand an effect property. Effect Controls A. Value graph B. Velocity graph View keyframes and properties in the Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in the Timeline panel.
  • Page 291 For an audio track, drag the bottom of the track. To resize all expanded tracks, hold down the Shift key while dragging. and choose any of the following from the menu: April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 292: Activating And Selecting Keyframes

    Fixed Effects in the Timeline panel. Keyframing for Standard effects must be first activated in the Effect Controls panel. and choose any option from the menu except Hide April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 293 Note: When you position the Selection or Pen tool over a keyframe, the pointer appears with a Keyframe icon next to the property name. A keyframe appears at the current time. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 294: Adding And Setting Keyframes

    “Adjust or reset controls in the Effect Controls “Apply an effect to a clip” on page 244 in the Effect Controls panel to navigate to an existing keyframe if you want panel” on page 248 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 295 They also display and let you adjust the interpolation between keyframes. You can use the Velocity graph to fine-tune the rate of change between keyframes. Timeline]” on page 101 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 296 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 , and then drag to increase the height of the graph area. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 297: Optimize Keyframe Automation

    Adobe Premiere Pro only creates keyframes at the points that represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes. If you do not select this option, Adobe Premiere Pro may create several incre- mental keyframes of identical values between those two points, depending on the speed at which you change the value.

  • Page 298: Moving And Copying Keyframes

    You can also copy a keyframe by dragging. In the Timeline of the Effect Controls panel, hold down the Alt key (Windows) or Option key (Mac OS) and drag a keyframe to a new location. and the last keyframe always uses the End Keyframe April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 299: Controlling Effect Changes Using Keyframe Interpolation

    The keyframes remain selected after pasting, so you can fine-tune their location. You can paste keyframes only to a clip or track that displays the same property as the copied keyframes. Also, Adobe Premiere Pro can paste keyframes at the current-time indicator on only one clip or track at a time. Because the...
  • Page 300 Note: Although interpolation methods can vary the rate at which a property changes between keyframes, they cannot change the actual duration between keyframes. Duration is determined by the time (or distance in the time ruler) between keyframes. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 301 To adjust the slope of the curve, drag the Bezier handle up or down. Moving the handle up accelerates the changes and moving the handle down decelerates the changes. • To adjust the range of the curve’s influence, drag the Bezier handle to the left or right. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 302 The values (to the left of the Velocity graph) change as you adjust the graph. These numbers represent the upper and lower values of the Velocity graph. You can also adjust the velocity by changing the numeric values. See also “Edit keyframe graphs” on page 289 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 303: Chapter 13: Effect Reference

    Chapter 13: Effect reference You can correct, improve, and otherwise modify your assets with any of the dozens of effects provided in Adobe Premiere Pro. About the effect reference Descriptions of effects This reference contains descriptions of all audio and video effects included as part of Adobe Premiere Pro. It defines only those effect properties and tools that may not be self-explanatory.
  • Page 304 Horizontal Flip Lens Flare Lightning Noise Paint Bucket Shear Solarize Original image Tint Edge Feather Emboss Find Edges Gaussian Blur Invert Lens Distortion Mirror Mosaic Posterize Replicate Spherize Texturize Twirl Vertical Flip April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 305: Adjust Effects

    ADOBE PREMIERE PRO CS3 User Guide 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 306 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 307 ADOBE PREMIERE PRO CS3 User Guide Posterize effect The Posterize effect lets you specify the number of tonal levels (or brightness values) for each channel in an image. The Posterize effect then maps pixels to the closest matching level. For example, choosing two tonal levels in an RGB image gives you two tones for red, two tones for green, and two tones for blue.

  • Page 308: Blur And Sharpen Effects

    Drag the slider to specify a blur amount for the selected keyframe; higher values increase the blur. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 309 ADOBE PREMIERE PRO CS3 User Guide Channel Blur effect The Channel Blur effect blurs a clip’s red, green, blue, or alpha channels individually. You can specify that the blur is horizontal, vertical, or both. Select Repeat Edge Pixels to make the blur algorithm operate as if the pixel values beyond the edge of the clip are the same as those of the edge pixels.
  • Page 310 ADOBE PREMIERE PRO CS3 User Guide Fast Blur effect Fast Blur is a close approximation of Gaussian Blur, but Fast Blur blurs large areas more quickly. Original (left), and with effect applied (right) Gaussian Blur effect (High bit-depth) The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both.

  • Page 311: Channel Effects

    100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through. Specifies how to position the control layer. If Layer Sizes Differ Apply basic math functions. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 312 The effect’s transparency. The result of the effect is blended with the original image, with the Blend With Original effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 313 This creates traveling matte results. Note: The Set Matte effect was originally developed for After Effects. It is included in Adobe Premiere Pro only to provide compatibility with projects created in earlier versions of After Effects that use the Set Matte effect.

  • Page 314: Color Correction Effects

    Western Europe and South America. How to reduce signal amplitude: How To Make Color Safe • Reduces a pixel’s brightness by moving it toward black. This setting is the default. Reduce Luminance April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 315 ADOBE PREMIERE PRO CS3 User Guide • Moves the pixel’s color toward a gray of similar brightness, making the pixel less colorful. For Reduce Saturation the same IRE level, reducing saturation alters the image more noticeably than does reducing luminance.
  • Page 316 ADOBE PREMIERE PRO CS3 User Guide To animate a color change, set keyframes for the To color. Which channels are affected. Change How to change colors. Setting To Color performs a direct change of affected pixels to the target color.

  • Page 317: Fast Color Corrector Effect

    Assigns a white balance to an image using the Eyedropper tool to sample a target color in the image White Balance 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 white balance.
  • Page 318 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 319: Luma Corrector Effect

    ADOBE PREMIERE PRO CS3 User Guide Leave Color effect The Leave Color effect removes all colors from a clip except those similar to the Color To Leave. For example, a movie of a basketball game could be decolored except for the orange of the ball itself.

  • Page 320: Luma Curve Effect

    – 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...

  • Page 321: Rgb Color Corrector Effect

    - 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...
  • Page 322 – 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...

  • Page 323: Rgb Curves Effect

    – 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...

  • Page 324: Three-Way Color Corrector Effect

    Black Balance, Gray Balance, White Balance different 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 325 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 326: Video Limiter Effect

    – 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...

  • Page 327: Distort Effects

    Note: You can directly manipulate the Corner Pin effect properties in the Program monitor when you click the Transform icon next to Corner Pin in the Effect Controls panel. Drag one of the four corner handles to adjust the properties. Determine the threshold and April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 328 The radius of the magnified area is equal to the Magnification value (a Size & Feather To Magnification percentage) times the Size value. The thickness of the edge feather is equal to the Magnification value times the Feather value. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 329 Standard effects are rendered. Anchor Point, Position, Rotation, Scale, and Opacity properties function much the same as the Fixed effects. Skew amount. Skew The axis about which skew occurs. Skew Axis April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide and then...
  • Page 330 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. 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.

  • Page 331: Gpu Effects (Windows Only)

    Page Curl adds the following controls not in the Ripple Effect (Circular): Specifies where on the image edge the curl begins. Angle Of Curl Specifies how far into the image that the curl extends. Curl Amount April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 332: Generate Effects

    The opacity of the gradient, as a fraction of the clip’s Opacity value. Opacity The blending mode to use in combining the gradient with the clip. Blending Mode April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 333 Note: Although the Evolution value is set in units called revolutions, it’s important to realize that these revolutions are progressive. The evolution state continues to progress infinitely at each new value. Use the Cycle Evolution option to return the Evolution setting to its original state at each revolution. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 334 The opacity of the colored rectangles. Opacity The blending mode to use to composite the checkerboard pattern on top of the original clip. The Blending Mode default None mode renders the checkerboard pattern only. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 335 Average Pixel Color • Samples the average RGB color values, excluding those of transparent pixels. Skip Empty • Samples the average of all RGB color values, including those of transparent pixels. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 336 Lens Flare effect The Lens Flare effect simulates the refraction caused by shining a bright light into the camera lens. Specifies a location for the center of the flare. Flare Center April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 337: Lightning Effect

    ADOBE PREMIERE PRO CS3 User Guide Specifies the percentage of brightness. Values can range from 10% to 300%. Flare Brightness Selects the type of lens to simulate. Lens Type Specifies the degree to which the effect will be blended with the source clip.
  • Page 338 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 339 Use a single, constant, non-zero value to create a snakelike movement of the stroke. Animate this value to make the stroke expand and contract. The time interval, in seconds, between brush marks. Smaller values produce smoother paint Brush Spacing (Secs) strokes but take more time to render. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 340: Image Control Effects

    Color Pass effect, you can isolate only colors, not objects within the clip. See also “Isolate a single color using Color Pass” on page 275 Specifies whether paint properties and brush properties are April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 341: Keying Effects

    ADOBE PREMIERE PRO CS3 User Guide Color Replace effect (Windows only) The Color Replace effect replaces all occurrences of a selected color with a new color, preserving any gray levels. Using this effect, you could change the color of an object in an image by selecting it and then adjusting the controls to create a different color.
  • Page 342 For more information on using the Difference Matte, watch the the Total Training website. Difference Matte effect A. Original image B. Background image C. Image on second track D. Final composite image online training video April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 343 ADOBE PREMIERE PRO CS3 User Guide See also “Replace a static background with Difference Matte” on page 374 Difference Matte online training video Eight-Point, Four-Point, and Sixteen-Point Garbage Matte effects (High bit-depth) The three Garbage Matte effects aid in cropping out extraneous portions of a shot so that you can apply and adjust a key effect more effectively.

  • Page 344: Noise & Grain Effects

    ADOBE PREMIERE PRO CS3 User Guide See also “About Luma Key” on page 372 Non Red Key effect The Non Red Key effect makes the clip’s nonred (blue or green) pixels transparent. See also “About Non Red Key” on page 372 RGB Difference Key effect The RGB Difference Key effect creates transparency by removing pixels from a specified color or range of colors.
  • Page 345 2, a value of 256 wraps around to 0, and a value of -3 wraps around to 253. An input value to the random number generator for the noise. This control is active only if you Random Seed choose Uniform Random or Squared Random. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 346 Noise Animation Speed (Noise HLS Auto only) noise animation, animate this property. See also “About keyframes” on page 282 The speed of the noise animation. To accelerate or decelerate the April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 347: Perspective Effects

    ADOBE PREMIERE PRO CS3 User Guide Perspective effects Basic 3D effect (Windows only) The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you. With Basic 3D, you can also create a specular highlight to give the appearance of light reflecting off a rotated surface.
  • Page 348 The distance from the clip to the surface on which the shadow falls. The shadow appears larger Projection Distance as this value increases. The softness of the shadow’s edges. Softness April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 349: Stylize Effects

    This effect alters the alpha channel, as well as the color channels; if you’ve masked out a portion of the image, the brush strokes paint over the edges of the mask. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 350 The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 351: Mosaic Effect

    ADOBE PREMIERE PRO CS3 User Guide Find Edges effect The Find Edges effect identifies the areas of the image that have significant transitions and emphasizes the edges. Edges can appear as dark lines against a white background or colored lines against a black background. If the Find Edges effect is applied, images often look like sketches or photographic negatives of the original.
  • Page 352 Choose Makes Layer Transparent for each strobe to make the clip transparent. Choose Operates On Color Strobe Only to use the operation specified by Strobe Operator. The operation to use for each strobe. Strobe Operator April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 353: Time Effects

    Combines the echoes by taking the maximum pixel values from all of the echoes. Maximum • Combines the echoes by taking the minimum pixel values from all of the echoes. Minimum April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 354 If you choose Source Frame for Adjust Time By, then you must animate the Source Frame property to do anything other than freeze on one frame. on the Total Training website. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 355 Source Crops image boundaries. Pixels from the boundaries are repeated to fill the area beyond the boundaries to the layer’s edges. Note: The After Effects Time Warp effect is very similar to Time Warp in Adobe Premiere Pro. See also...

  • Page 356: Transform Effects

    ADOBE PREMIERE PRO CS3 User Guide Transform effects Camera View effect (Windows only) The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip.

  • Page 357: Transition Effects

    ADOBE PREMIERE PRO CS3 User Guide Roll effect (Windows only) The Roll effect rolls a clip to the left or to the right, or up or down, as if the image were on a cylinder. Vertical Flip effect The Vertical Flip effect flips a clip upside down. Keyframes cannot be applied to this effect.
  • Page 358 Original image (left), and with effect applied (center and right) Venetian Blinds effect (Windows only) (High bit-depth) The Venetian Blinds effect reveals an underlying clip using strips of specified direction and width. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 359: Utility Effects

    The black point (minimum density) for converting a 10-bpc logarithmic Cineon clip. 10 Bit Black Point The black point used for the clip in Adobe Premiere Pro. Internal Black Point The white point (maximum density) for converting a 10-bpc logarithmic Cineon clip.

  • Page 360: Video Effects

    About audio effects in Adobe Premiere Pro Adobe Premiere Pro includes VST (Virtual Studio Technology) audio plug-ins designed to alter or enhance the properties of audio clips. Most of these effects are available for mono, stereo, and 5.1 clips, and can be applied to either clips or tracks, unless specified otherwise.

  • Page 361: Chorus Effect

    You can also use it to create some truly out-of-this-world special effects. Adobe Premiere Pro uses a direct-simulation method of achieving a chorus effect, making each voice (or layer) sound distinct from the original by slightly varying timing, intonation, and vibrato. The Feedback setting adds extra detail to the result.
  • Page 362 “s” and “t.” This effect is available for 5.1, stereo, or mono clip. Specifies the amount of reduction applied to the “SSS” sound. The meter displays the amount of the reduction, Gain in decibels. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 363: Delay Effect

    Sets an offset value between the automatically detected noise floor and the value defined by the user. This is Offset limited to a range between –10 and +10 dB. Offset allows additional control when the automatic denoising is not sufficient. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 364 Use the following controls with Limiter: • Specifies the maximum level of the signal, between –12 and 0 dB. All signals that exceed the threshold Threshold are reduced to the same level as the threshold. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 365: Flanger Effect

    ADOBE PREMIERE PRO CS3 User Guide • Specifies the time (between 10 and 500 milliseconds) required for the gain to return to the normal level Release after a clip occurs. Reduces clipping similar to Limiter but doesn’t use hard limiting. This control adds an edge to some signals SoftClip to better define them within an overall mix.
  • Page 366 ADOBE PREMIERE PRO CS3 User Guide Sets the point in milliseconds at which flanging starts behind the original signal. The flanging effect occurs Delay by cycling over time from an initial delay setting to a second (or final) delay setting.
  • Page 367 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. Ranges from 0 to 100%. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 368: Pitchshifter Effect

    Activates the adjustment of the filter frequency by the cursor. CursorMode Swap Channels effect The Swap Channels effect switches the placement of the left and right channel information. Apply to stereo clips only. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 369 ADOBE PREMIERE PRO CS3 User Guide Treble effect The Treble effects lets you increase or decrease higher frequencies (4000 Hz and above). The Boost control specifies the amount, measured in decibels, to increase or decrease. This effect is available for 5.1, stereo, or mono clips.

  • Page 370: Chapter 14: Compositing

    Areas where all tracks are empty or transparent appear black. If necessary, you can use the File > Interpret Footage command to change how Adobe Premiere Pro interprets a clip’s alpha channel throughout a project.
  • Page 371 • 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 372 Selection tool or the Pen tool. To adjust the smoothness of the animation change the keyframe interpolation from linear to Bezier. , or the Hide Keyframes button , and choose Show Opacity April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide and make sure...

  • Page 373: Transparency (Masks, Alpha Channels)

    Many file formats can include an alpha channel, including PSD (from Adobe Photoshop), ElectricImage, FLV, F4V, TGA, TIFF, EPS, PDF, and AI (from Adobe Illustrator). AVI and QuickTime files (saved at a bit depth of Millions Of Colors+), also can contain alpha channels, depending upon the codecs used. For AI, EPS, and PDF files, After Effects automatically converts empty areas to an alpha channel.

  • Page 374: Defining Transparent Areas With Keys

    Adobe Premiere Pro and After Effects recognize both straight and premultiplied channels, but only the first alpha channel they encounter in a file containing multiple alpha channels. Adobe Flash recognizes only premultiplied alpha channels.
  • Page 375 • Click the color swatch and use the Adobe Color Picker to select a color, and then click OK to close the Color Picker. •...
  • Page 376 Do one of the following to specify the key color: • Click the Key Color swatch to open the Adobe Color Picker, select a color, and then click OK. • Click the Eyedropper icon, and then click a color on the computer screen.
  • Page 377 Broadens or reduces the range of the target color that will be made transparent. Higher values increase Similarity the range. Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary Smoothing between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles.
  • Page 378 Choose Green or Blue to remove a residual edge from green-screen or blue-screen footage, respectively. Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary Smoothing between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles.

  • Page 379: Creating Transparency And Solid Colors With Mattes

    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. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 380 (Optional) If you’re animating the Difference Matte over time, make sure that the current-time indicator is in the position you want. Click the Toggle Animation icons In the Effects panel, expand the Video Effects bin and then the Keying bin. for the settings you adjust. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 381 Mask Only option. • Use Adobe Illustrator or Adobe Photoshop to create a grayscale image and import it into Adobe Premiere Pro. Add the background clip to a track in the Timeline panel. Add the clip you want to superimpose to any track higher than the track containing the background clip. This is the clip revealed by the track matte.
  • Page 382 (right). In the Timeline panel, place the clip you want to superimpose in a track above the one containing the background clip. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 383 Select the Project panel. Choose File > New > Color Matte. Select a color from the Adobe Color Picker and click OK. In the Choose Name dialog box, type a name for the new matte and click OK. The matte appears as a still image in the Project panel.
  • Page 384 Effect Controls panel. You can also adjust the interpolation between keyframes by editing the keyframe graph. Repeat this step as needed. See also “Edit keyframe graphs” on page 289 April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 385: Chapter 15: Exporting

    Choosing export formats Exporting basics You can export video from a sequence in the form best suited for further editing or for a viewing audience. Adobe Premiere Pro supports export in formats for various uses and target devices. Export files for further editing In the course of editing, you might export editable movie or audio files in order to preview your work with effects and transitions fully rendered, or to continue editing the files in applications other than Adobe Premiere Pro.
  • Page 386 Ways to export Adobe Premiere Pro provides two ways to export a file. You can use one of the standard Export commands or you can use the Adobe Media Encoder. The standard export commands in the File > Export menu (Movie, Frame, Audio, or Standard export commands Title) are used to export full-resolution files that can be archived or brought into projects for further editing.
  • Page 387 • TIFF sequence • Windows Bitmap sequence (Windows only) See also “Adobe Media Encoder format options” on page 423 “File formats supported for import” on page 75 About high-definition (HD) video High-definition (HD) video refers to any video format with a resolution higher than standard-definition (SD) video formats.
  • Page 388 These can be used for high-definition playback from hard disks or computer optical drives. Adobe Premiere Pro can export HDV sequences in HDV format only onto tape in a connected HDV device (Windows only). However, you can export HDV sequences to files on the hard disk in non-HDV standard- or high- definition formats.
  • Page 389 MPEG-2 if it isn’t already in that format). After Effects and Adobe Premiere Pro add metadata to MPEG-2 files that Encore can read for aid in authoring and building DVDs. This metadata contains information that enables Encore to multiplex audio and video, automat- ically generate DVD chapter points, and open clips in the applications from which they were rendered.
  • Page 390 Using more solid colors in your video reduces its file size. You can use the Video Noise Reduction filter in the Adobe Media Encoder, or a soft blur in After Effects to help reduce noise.
  • Page 391 ADOBE PREMIERE PRO CS3 User Guide About compression keyframes Compression keyframes are different from the keyframes that you use to control track or clip properties, such as audio volume or clip rotation. Compression keyframes are automatically placed during export at regular intervals in the movie.

  • Page 392: Exporting Editable Movie And Audio Files

    In Adobe Premiere Pro, use the File > Get Properties For command to analyze the data rate of files you export. Choosing formats for use in other applications Adobe Premiere Pro exports to many formats that are readable by other applications. Before you export a video file...

  • Page 393: Export To Panasonic P2 Format

    P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB. When Adobe Premiere Pro exports clips or sequences larger than 4 GB to P2 format, it exports them as groups of 4 GB spanned clips.
  • Page 394 Export marker data in AVI files (Windows only) In Adobe Premiere Pro, you can export marker data. Exporting marker data is useful if you plan to author a disc in Encore. If you export marker data and specify a marker as a chapter point in Adobe Premiere Pro, Encore recognizes the chapter point so that you can easily create links to it as you author your disc.

  • Page 395: Exporting Still Images And Still-Image Sequences

    Specify a location and filename, and click OK. If you want to cancel exporting, press Esc. It may take several seconds to cancel the operation. Note: You can also export audio by choosing Export > Adobe Media Encoder, then deselecting the Video option. See also “File formats supported for...
  • Page 396 Select images for publishing or creating storyboards. • Export source images for a graphics program in which the images can be edited or retouched and imported back into Premiere Pro as footage items. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 397 One method is to first export the video frames from your video application in filmstrip format. Note: You can also use the video layers feature in Adobe Photoshop Extended to edit video files not in filmstrip format, and you can rotoscope with paint tools in After Effects without using the filmstrip format. For help in choosing whether to use filmstrip format, or whether to use Photoshop or After Effects for a given task, see Photoshop Help.

  • Page 398: Exporting Pdfs For Comments

    Use Clip Notes to submit a movie to reviewers for comments. When you render a movie for Clip Notes comments, a copy of the movie or a link to the movie is included in an Adobe PDF file. The movie can be in a Windows Media (Windows only) or QuickTime container format.
  • Page 399 QuickTime or Windows Media (Windows only) file. Format Note: QuickTime format will allow any marker comments you make in Adobe Premiere Pro to appear at their respective frames in the player embedded in the Clip Notes PDF. Export the entire sequence or only the frames under the work area bar.
  • Page 400 Sending work for review using Clip Notes Add Clip Notes comments Open the Clip Notes PDF file in Adobe Acrobat Standard, Acrobat Professional, or Adobe Reader (version 7.0.5 or later). If prompted, specify your preference in the Manage Trust For Multimedia Content dialog box. If prompted for a password, enter the password and click OK.

  • Page 401: Exporting To Dvd, Blu-Ray Disc, Or Cd

    DVDs, and Blu-ray discs. Alternately, you can export to Encore for authoring DVDs with menus, or direct burning to disc without menus. For a video on exporting to Adobe Encore, see www.adobe.com/go/vid0257. For more infor- mation on the DVD format, see www.adobe.com/go/learn_dv_primer_dvd...
  • Page 402 Types of DVDs and Blu-ray discs Using Adobe Premiere Pro and Encore, you can create two main types of DVDs or Blu-ray discs: auto-play without menus or menu-based. In the Export To Encore dialog box, choose Direct Burn Without Menus for the first, and Author With Menus for the second.
  • Page 403 Note: Encore no longer imports Adobe Premiere Pro sequence markers as chapter points. For projects created with earlier versions of Adobe Premiere Pro, you must replace sequence markers with Encore markers if you want to retain those chapter points in discs made from the project.
  • Page 404 This is particularly true if any of your intended viewers use older CD-ROM drives, or computers with slower processors (CPUs). When choosing export settings in the Adobe Media Encoder, you can take the following steps to adjust the data rate and ensure smooth playback: •...
  • Page 405 DVD recorder isn’t required. On the other hand, VCD quality is comparable to VHS—much lower than DVD quality. You can create Video CD files using MPEG1-VCD presets in the Adobe Media Encoder and then write the files to a recordable CD using a program that can create a VCD. However, because DVD media, recorders, and players are widespread and affordable, the demand and support for the VCD format is not as great as it was initially.

  • Page 406: Exporting Projects For Online Editing Or Archiving

    With Adobe Premiere Pro you can export your project as an edit decision list (EDL) in the CMX3600 format. This format is the most widely accepted and most robust of the EDL formats. When you set up an Adobe Premiere Pro project from which you will export an EDL, you must satisfy the following criteria: •...
  • Page 407 XML file. Some characters to avoid include /, >, <, ®, and ü. • AAF files exported from Adobe Premiere Pro and imported into Avid Xpress do not automatically relink to the source footage. To relink the footage, use the Offline Only batch import option in Avid Xpress.

  • Page 408: Trim Or Copy Your Project

    Using the Project Manager feature, you can create a version of your project, called a trimmed project, that references only the material used in your sequences. Trimmed projects are saved under a unique name in the standard Adobe Premiere Pro project file format (.prproj).
  • Page 409 Include Audio Conform Files the new project. When not selected, the new project occupies less disk space, but Adobe Premiere Pro conforms the audio again when you open the project. This option is available only if you select Collect Files And Copy To New Location.

  • Page 410: Exporting To Videotape Or Film

    ADOBE PREMIERE PRO CS3 User Guide Note: If a folder already exists with a name identical to the project you are trimming, Project Manager appends a number to the name. For example, identically-named successive projects may have appendages of “_001, _002, _003, _004,...”...
  • Page 411 • To have Adobe Premiere Pro roll the tape before the specified start time so that the deck can attain a constant speed, select Preroll and type the number of frames you want the tape to play before recording begins. For many decks, 150 frames is sufficient.
  • Page 412 Export a sequence to tape without device control You can export to videotape without device control by operating the playback controls in Adobe Premiere Pro and the recording controls on the device itself. Note: You can export to tape on an HDV device on Windows only, and only with device control.

  • Page 413: Exporting For The Web

    For this reason, there are numerous codecs designed to make video web-friendly. With its export settings, Adobe Premiere Pro includes a number of presets that aid in formatting a movie suited for particular audiences, according to their system’s capabilities. Many formats employ the following technologies:...
  • Page 414 Moving content between Adobe Premiere Pro and Adobe Flash After you start and edit a video in Adobe Premiere Pro, you can add sequence markers to the timeline. If you add text to the Chapter field of these markers, they can serve as cue points in a Flash application. Then, you can export the movie directly into the Adobe Flash Video format (FLV).
  • Page 415 Alternatively, because Flash can be used to create animations, you can start a movie as a Flash project, export it as a QuickTime file, then import the QuickTime file into Adobe Premiere Pro for editing. In Adobe Premiere Pro, for example, you could add titles or mix the animation with other video sources.
  • Page 416 To eliminate download time, provide deep interactivity and navigation capabilities, or monitor quality of service, stream Adobe Flash Video files with the Flash Media Server or use the hosted service from one of Adobe’s Flash Video Streaming Service partners available through the Adobe website. For more details on the difference between Progressive Download and Streaming with Flash Media Server, see “Delivering Flash Video: Understanding the...
  • Page 417 If copying, double-click the name of the duplicate item, type a new name, and then click OK. When you finish, click OK. Note: Removing an item from the Alternates or Audiences list can’t be undone. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 418 QuickTime Alternates options In the Adobe Media Encoder Export Settings dialog box, specify a QuickTime for Format, and then choose a streaming option from the Preset menu. In the Alternates panel, select any of the following options: Plays the movie in a continuous loop.

  • Page 419: Exporting To Ipods, Cell Phones, Psps And Other Mobile Devices

    Select to include audio in the exported file; deselect to exclude audio from the exported file. Export Audio Select if you want to preview the file in Adobe Device Central after encoding (available only Open in Device Central for H.264 presets designed for mobile devices).
  • Page 420 Using Adobe Device Central with Adobe Premiere Pro Device Central enables Adobe Premiere Pro users to preview how video files will look on a variety of mobile devices. For example, a video producer needs to create video that will be used in multiple formats. A version of the video must be optimized for use on mobile devices.
  • Page 421 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 422: Adobe Media Encoder Basics

    When you export a movie file for delivery media other than full-screen, full frame-rate television, you usually need to deinterlace the frames, crop the image, or apply certain filters. Through the Export Settings dialog box, the Adobe Media Encoder offers these tasks as pre-encoding options, because it’s best to perform them prior to encoding the file.
  • Page 423 Do either of the following: • (Adobe Premiere Pro) Select the sequence or clip you want to export, and choose Export > Adobe Media Encoder. • (Soundbooth) In the Save As dialog box, choose any video format except AVI or QuickTime, and then click Save.
  • Page 424 Export settings presets When exporting with the Adobe Media Encoder, choosing a format automatically makes available a list of associated presets designed for particular delivery scenarios. Selecting a preset, in turn, activates the appropriate options in the various settings panels (Video, Audio, and so on). In most cases, one of the provided presets will match your output goals.

  • Page 425: Export Settings

    Export Movie Settings, Export Frame Settings, or Export Audio Settings dialog boxes. These have two or more of these panels, selectable from an area on the left side of the dialog box: General, Video, Keyframe and Rendering, and Audio. April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 426 Choose whether to include a project link in the exported file. When a file contains project link Embedding Options information, you can open and edit the original project from within another Adobe Premiere Pro project or from another application that supports the Edit Original command. Select Project from this menu to embed the link information in the exported file;...
  • Page 427 Note: In some codecs, quality and data rate are interrelated, so that adjusting one option automatically alters the other. Select to ensure that Adobe Premiere Pro exports a video file that is under the data rate you specified. Recompress Choose Always from the Recompress menu to compress every frame, even if it is already within the data rate, or choose Maintain Data Rate to preserve quality by compressing only the frames that are above the specified data rate.
  • Page 428 Optimize Stills has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Selecting this option can save disk space if you used still images. Deselect this option only if the exported video file exhibits playback problems when displaying the still images.
  • Page 429 Adobe Media Encoder format options When you export using the Adobe Media Encoder, you select a format in the Export Settings dialog box for your output. The format you select determines which Preset options are available. Select the format best suited for your output goal.
  • Page 430 Codec Specifies the encoding quality. Generally, higher values increase rendering time and file size. Quality Enables encoding of an alpha channel into the exported file for formats, such as Adobe Flash Encode Alpha Channel Video, that support alpha channels. Conforms the output to the NTSC or PAL standard.
  • Page 431 A high-quality encoding format developed for multichannel digital sound and the SurCode for Dolby Digital 5.1 most common encoder for DVD-video. (This codec is available only in Adobe Premiere Pro.) • A high-quality encoder developed by MainConcept media technologies, and included MainConcept MPEG Audio with Adobe Premiere Pro, After Effects, and Soundbooth.
  • Page 432 Adobe Media Encoder MPEG multiplexer preset options Multiplexer preset options control how After Effects and Adobe Premiere Pro merge MPEG video and audio data into a single stream. The exact options available depend on the MPEG format you choose. When you choose the MPEG-2 format, all Multiplexer options provided by the MPEG standard are available for manual control.

  • Page 433: Chapter 16: Keyboard Shortcuts

    Chapter 16: Keyboard shortcuts Many commands and buttons 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.
  • Page 434 Selecting a shortcut Note: Some commands are reserved by the operating system and cannot be reassigned to Adobe Premiere Pro. Also, you cannot assign the plus (+) and minus (-) keys on the numeric keypad because they are necessary for entering relative timecode values.

  • Page 435: Default Keyboard Shortcuts

    Hand tool Zoom tool Keys for viewing panels You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below. Shortcut (Windows and Mac OS) April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 436 Shift + 2 Shift + 4 Shift + 1 Shift + 3 Shortcut (Windows and Mac OS) Left Arrow Right Arrow Shortcut (Windows and Mac OS) Page Down Page Up Spacebar April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 437 Shift + ] Shift + [ Shift + [ Windows Shortcut Mac OS Shortcut Double-click the work area Double-click the work area Alt + [ Option + [ Alt + ] Option+ ] April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 438 J repeatedly until pressing J repeatedly until playing at the desired playing at the desired speed. Release Shift. speed. Release Shift. Hold K while pressing J Hold K while pressing J April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 439 Shift + Left Arrow Right Arrow Right Arrow Shift + Right Arrow Shift + Right Arrow Ctrl + Shift + - Command + Shift + - Ctrl + - Command + - April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 440 Shift + Left Arrow Left Arrow Shift + Right Arrow Right Arrow Shift + Up Arrow Up Arrow Commandl + Shift + D Command + Shift + F Command + Shift + O April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...
  • Page 441 Mac OS Shortcut Option + 1 Option + 3 Option + 2 Option + Shift + Left Arrow Option + Left Arrow Option + Shift + Right Arrow Option + Right Arrow April 1, 2008 ADOBE PREMIERE PRO CS3 User Guide...

  • Page 442: Index

    191 Adobe Encore downmixing to fewer channels 213 setting chapter links for use in 149 panning and balancing 210 using with Adobe Premiere Pro 45 Adobe Flash integration with Adobe Premiere AAF format 400 Pro 167, 408...
  • Page 443 Audio Video Interleave. See AVI default duration of 201 format digitizing 194, 196 audio volume 285 downmixing 213 conversion in Adobe Premiere editing in Adobe Audition 214 Pro 165 exporting 389 audio waveforms 187 extracting 191 audiotapes 196 output routing 210, 211, 214 Audition.
  • Page 444 channels brightness adjusting 308 See also alpha channels adjusting with Convolution Kernel 5.1 surround audio 182 effect 275 exported audio 422 changing in user interface 18 mapping audio channels 188 Brightness & Contrast effect 308 mono 182 Broadcast Colors effect 308 stereo 182 Brush Strokes effect 343 Checkerboard effect 328...
  • Page 445 275 Device Central integration copy attributes 137 Adobe Premiere Pro 414 copying and pasting device control between Adobe Premiere Pro and capturing with 58 After Effects 164 capturing without 60 clip attributes 137 device settings 59 clips 140...
  • Page 446 113, 114 Export Audio command 389 slip edit 113 Export Movie command 387 split edit 152 export settings splitting clips 139 See also Adobe Media Encoder three-point 120 audio 422 trimming 108 format options 423 using Automate To Sequence general 420...
  • Page 447 Fit To Fill option. See four-point starting number 26 editing 121 freeze frame 134 Fixed effects 241 Flanger effect 359 Flash. See Adobe Flash Gamma Correction effect 335 Flicker Removal option 126 ganging monitors 99 FLM format garbage mattes 337, 376...
  • Page 448 368 mattes about 367, 373 garbage 376 moving 375 removing 377 solid color 377 track 375 traveling 375 mattes, conversion in Adobe Premiere Pro 165 Maximum Bit Depth setting 23 Media Encoder. See Adobe Media Encoder April 1, 2008...
  • Page 449 184, 200 navigation shortcuts, in Adobe Help 4 mobile devices 37 nested sequences 155 optimizing After Effects content for 415 new features in Adobe Premiere Pro 11 optimizing Premiere Pro content for 415 New Project command 21 monitors New Reference Monitor...
  • Page 450 86, 91 Path Type tool 220 Posterize effect 301 PCM format 380 Posterize Time effect 348 PDF files Premiere Pro. See Adobe Premiere exporting Clip Notes comments as 392 premultiplied channels 368 pek files 77 Preroll Time setting 59...
  • Page 451 renaming Safe During Write command 207 Project panel columns 85 Safe Margins button 95 tracks 104 safe zones render files. See preview files Render Preview command 141 about 218 title 218 rendering viewing in Source and Program See also previewing Monitors 95 about 141 sample rate...
  • Page 452 191 Swap Channels effect 362 panning and balancing 210 Switch To Touch After Write Stereo Mixer effect, conversion in command 207 Adobe Premiere Pro 165 synchronization 63 still images synchronizing adjusting pixel aspect ratio 78 audio and video 151...
  • Page 453 220 showing and hiding audio 185 horizontal 220 specifying target 116 paragraph 220 working with 104 selecting 220 transfer modes, conversion in Adobe vertical 220 Premiere Pro 165 Titler Transform effect 323 about 40 Transform properties, conversion in...
  • Page 454 removing pulldown 33 TV, creating and previewing titles for 218 tips for creating 409 tweening. See keyframes Video CD. See VCD format Twirl effect 325 video files exporting 386 for mobile devices 415 uncompressed high-definition Video filter properties, conversion in video 382 After Effects 166 uncompressed video playback 27...
  • Page 455 YCbCr Parade 96 monitor 280 YouTube video 408 Zoom In button 103 Zoom tool 103 April 1, 2008...

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