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Adobe PREMIER PRO 7 Using Manual

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Using Help
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Adobe Premiere Pro Help
Using Help
Using Help
|Contents|IndexBack1
Using Help
About Help
Adobe Systems Incorporated provides complete documentation in an Adobe PDF-based
help system. This help system includes information on all tools, commands, and features
of an application. It is designed for easy on-screen navigation and can also be printed and
used as a desktop reference. Additionally, it supports third-party screen-reader
applications that run in a Windows environment.
Navigating in Help
Help opens in an Adobe Acrobat window with the Bookmarks pane open. (If the
Bookmarks pane is not open, click the Bookmarks tab at the left edge of the window.)
At the top and bottom of each page is a navigation bar containing links to this page (Using
Help), the table of contents (Contents), and the index (Index).
To move through pages sequentially, you can click the Next Page and the Previous
Page arrows; click the navigation arrows at the bottom of the page; or click Back to
return to the last page you viewed.
You can navigate Help topics by using bookmarks, the table of contents, the index, or the
Search (Acrobat 6) or Find (Acrobat 5) command.
To find a topic using bookmarks:
1
I
n the Bookmarks pane, click the plus sign (+) (Windows) or the right-facing arrow
(Mac OS) next to a bookmark topic to view its subtopics.
C
2
lick the b
ookmark to go to that topic.
To find a topic using the table of contents:
1
C
lick Contents in the navigation bar.
2On the Contents page, click a topic to go to that topic.
3To view a list of subtopics, click the plus sign (+) (Windows) or the right-facing arrow
(Mac OS) next to the topic name in the Bookmarks pane.
To find a topic using the index:
1
D
o one of the following:
Click Index in the navigation bar, and then click a letter at the top of the page.
•
⊃
n the Bookmarks pane, expand the Index bookmark to view the letter subtopics;
•
then click a letter.
2Locate the entry you want to view, and click the page number to go to that topic.
3To view other entries for the same topic, click Back to return to the same place in the
index, and then click another page number.
Using Help
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Summary of Contents for Adobe PREMIER PRO 7

  • Page 1 Windows environment. Navigating in Help Help opens in an Adobe Acrobat window with the Bookmarks pane open. (If the Bookmarks pane is not open, click the Bookmarks tab at the left edge of the window.) At the top and bottom of each page is a navigation bar containing links to this page (Using Help), the table of contents (Contents), and the index (Index).

  • Page 2: Table Of Contents

    Capturing and Importing Source Clips 63 Assembling a Sequence 103 Editing a Sequence 138 Adding Transitions 162 Mixing Audio 171 Using the Adobe Title Designer 193 Superimposing and Compositing 219 Applying Effects 235 Producing Final Video 289 Keyboard Shortcuts 312...

  • Page 3: Adobe Premiere Pro Help

    Adobe provides a variety of options for you to learn Adobe Premiere Pro, including online Help and tool tips. You can also use the Adobe Web site to easily access a host of continually updated Web resources for learning Adobe Premiere Pro, from tips and tutorials to technical support information.

  • Page 4: Using Help | Contents | Index Back 6

    Working with Adobe Premiere Pro People work with Adobe Premiere Pro in many different ways. In this section, you’ll find directions to specific information to help you accomplish some common Adobe Premiere Pro tasks. If you want to mix audio Create audio crossfades using the audio transitions in the Effects palette (see •...

  • Page 5: Using Help | Contents | Index Back 7

    Pro project, taking differences in pixel aspect ratio into account (see “About pixel aspect ratio” on page 99). Crop or resize oversized images that you want to animate in Adobe Premiere Pro to the • minimum dimensions you need to achieve the effect, and make sure that the image doesn’t exceed the maximum dimensions allowed (see “File-size limitations”...
  • Page 6 55 and the Keyboard Shortcuts Appendix). If you want to burn your movies onto DVD discs You can create DVDs directly in Adobe Premiere Pro if you have a DVD burner connected to your computer. Adapt your projects easily for the DVD format: Ensure that your clips and transitions play back correctly by preparing your audio and •...
  • Page 7 Go to partners.adobe.com/asn/premierepro/ (English only) on the Adobe Web site. Registration In order for Adobe to provide you with the highest quality software, offer technical support, and inform you about new Adobe Premiere Pro software developments, please register your application.

  • Page 8: Key Features In Adobe Premiere Pro

    Create projects in a streamlined user interface Adobe Premiere Pro allows you to arrange clips, view media, and create motion paths with unprecedented ease. In addition, nested timelines allow new methods of displaying footage for complex projects. The capture controls, keyframing features, and media management tools allow you maximum flexibility with your media projects.
  • Page 9 Premiere Pro works with Adobe After Effects, see “Opening a project in Adobe After Effects” on page 299. For information about using chapter marks for use in Adobe Encore DVD, see “Using sequence markers for comments, chapter links, and Web links” on page 126.
  • Page 10 VST plug-ins that come with Adobe Premiere Pro, including Reverb, EQ, Pitch Shift, Dynamics, DeNoiser, and MultibandCompressor. New VST plug-in support enables you to expand your audio toolkit and use your favorite VST plug-ins with Adobe Premiere Pro. Improve effects and mixing workflow and processing efficiency using sends and submixes.

  • Page 11: Tutorials

    2. Prepare a project for the clips you’ll capture. Start Adobe Premiere Pro and open or create a project that was created using one of the DV presets in the New Project dialog box. When you use a DV-based preset, make sure preset’s audio sample rate (48 kHz or 32 kHz) matches the setting on your camera at the...
  • Page 12 Set Out. Click Log Clip, change the clip data as needed, then click OK. Adobe Premiere Pro adds the logged clip as an offline file in the Project window. Repeat this step as many times as needed for the other clips you...
  • Page 13 So once the shots are complete, it only seems natural to arrange them into storyboard form before committing them to a rough cut. With Adobe Premiere Pro, you ®...
  • Page 14 Ctrl-click to add and subtract shots from your selection. The whole idea of a storyboard is to put your shots in sequential order. Nevertheless, you can have Adobe Premiere Pro place them in the sequence according to the order you select the clips instead.
  • Page 15 Just add layers, adjust, and go! 1. Import Adobe Photoshop files. To take full advantage of new compositing capabilities in Adobe Premiere Pro, use Photoshop files with transparent backgrounds, or add an alpha channel to an existing Photoshop file.
  • Page 16 1. Set up the sequences. You’ll need to have at least two sequences to use nesting. An Adobe Premiere Pro project contains one sequence by default, so create a second sequence by clicking the New Item...
  • Page 17 1. Set the title to roll. In Adobe Premiere Pro, choose File > New > Title to open the Adobe Title Designer. From the Title Type menu, choose Roll. If you intend to create rolling or crawling titles, make the appropriate choice before creating the title.
  • Page 18 Click the Font Browse button . In the Font Browser dialog box, scroll to find a font you want to use and select it. Click OK. Then, in the Object Styles panel of the Adobe Title Designer window, expand the Properties category. Set a font size by dragging. (To ensure readability, use a font size higher than 14 points.)
  • Page 19 Using Help | Contents | Index Back 36 9. Experiment with the settings. Double-click the title clip to return to the Adobe Title Designer. Use the Font Browser or the Font Size Object Style to adjust the characters. You may need to resize the text box to accommodate the changes.

  • Page 20: Working With Projects

    When your DVD burner is done recording, play it on the DVD player in your computer or on a standard DVD player to check the quality. For a wider range of options, you can export your projects to Adobe Encore DVD, where you can add titles, buttons, and multiple audio tracks to your DVDs.
  • Page 21 Open. You can also click the project name in the Recent Projects list if the project name is in the list. If Adobe Premiere Pro is open and a project is open, choose File > Open, locate and •...
  • Page 22 If you later move, rename, or delete a source file, Adobe Premiere Pro is unable to find the next time you open the project. In this case, Adobe Premiere Pro displays the Locate File dialog box. You can resolve this situation by selecting one of the following options: Display Only Exact Name Matches Displays only the files that match the name of the missing file when the project was last closed.
  • Page 23 Type a number for the Maximum Project Versions to specify how many versions of each • project file you want to save. For example, if you type 5, Adobe Premiere Pro saves five versions of each project you open. To open a project file created by the Auto Save preference: 1 Close the project if one is open.
  • Page 24 Auto Save preference settings. See “Saving a project manually or automatically” on page 43. To stop a change that Adobe Premiere Pro is processing (for example, when you see a •...
  • Page 25 Using Help | Contents | Index Back 45 Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 45 If a window contains more tabs than Adobe Premiere Pro can display at once, drag the • slider bar that appears above the tabs.
  • Page 26 To manage project items: Do any of the following: To rename an original source file on disk, exit Adobe Premiere Pro and rename the file • on the Windows desktop. The next time you open the project, Adobe Premiere Pro asks you to locate the file (see “Opening a project”...
  • Page 27 Using Help | Contents | Index Back 48 Adobe Premiere Pro Help Working with Projects Using Help | Contents | Index Back 48 To organize media types, such as DV captures, Adobe Photoshop still images, and audio • files. Project window A.
  • Page 28 Premiere Pro doesn’t directly support libraries, you can open a library. The library converts to a bin when you open it as an Adobe Premiere Pro project. To store a set of clips so that they are available for other projects, simply save a project that contains the clips, and import that project into other projects (see “Importing another project”...
  • Page 29 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. For example, you can change the names of columns you added, but not the names of columns built into Adobe Premiere Pro.
  • Page 30 File Path Location of the file on disk, expressed as a folder path. Capture Settings Whether a file has capture settings assigned in Adobe Premiere Pro. For example, to be eligible for batch capture, clips must have capture settings. Choose a command from the Clip >...
  • Page 31 Each time you apply a change to some part of the project, the new state of that project is added to the palette. You can modify the project from the state you select. History states aren’t available for actions within the Capture and Adobe Title Designer windows.
  • Page 32 You can also create or edit keyboard shortcuts. Using the default keyboard shortcuts Adobe Premiere Pro provides a set of keyboard shortcuts. You can view and modify them by using the Edit > Keyboard Customization command; see “Customizing keyboard shortcuts”...
  • Page 33 Note: Some commands are reserved by the operating system and cannot be reassigned 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. You assign the plus and minus keys on the keyboard, however.
  • Page 34 To specify scratch disks: 1 Choose Edit > Preferences > Scratch Disks. 2 For each scratch disk type, specify a disk location for Adobe Premiere Pro to store the corresponding files (scratch files are stored in a subfolder named after the project).
  • Page 35 94. Video Previews Control the frame size, picture quality, compression settings, and aspect ratios that Adobe Premiere Pro uses when you play back video from the Timeline window (the window where you edit your video program). See “Specifying Video Rendering settings”...
  • Page 36 Specify output settings when you export; see “Exporting video as a file” on page 296. Timebase Specifies the time divisions Adobe Premiere Pro uses to calculate the time position of each edit. In general, choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American...
  • Page 37 Note: If you use a clip in your video program without applying effects or changing frame or time characteristics, Adobe Premiere Pro uses the clip’s original codec for playback. If you make changes that require recalculation of each frame, Adobe Premiere Pro applies the codec that you choose here.

  • Page 38: Capturing And Importing Source Clips

    Optimize Stills Select this option to use still images efficiently in sequences. For example, if a still image 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. Deselect this option if sequences exhibit playback problems when displaying still images.
  • Page 39 94. If you use multiple hard drives, set up scratch disks before capturing because Adobe Premiere Pro defaults to the My Documents folder for file storage. See “Using scratch disks” on page 57 or “Preparing for DV capture”...
  • Page 40 You can capture audio and video to separate drives. Set the locations of new files by choosing Edit > Preferences > Scratch Disks. If you don’t change the defaults, all files captured or created by Adobe Premiere Pro are stored in the My Documents folder for the user who is currently logged into Windows XP.
  • Page 41 Adobe Premiere Pro, instead of operating both Adobe Premiere Pro and the controls on the device. With device control, you can use the Capture window to log each clip and then record all logged clips automatically. You can use device control to capture video from or export video to analog or digital video decks or cameras that support device control.
  • Page 42 Premiere Pro and source videotape recorded with timecode. Most DV devices meet this requirement using Adobe Premiere Pro’s built-in DV device control. If you’re using DV, you may be able to capture as soon as the device is recognized by Adobe Premiere Pro. If your device isn’t recognized, you may need to set it up.
  • Page 43 Project window. Using Help | Contents | Index Back 69 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help | Contents | Index Back 69 8 Enter information into the Logging Data section as needed.
  • Page 44 First you mark In and Out points, and then you capture the clip. If you want to mark In and Out points for many clips and have Adobe Premiere Pro capture all of the clips at once, see “Batch-capturing video” on page 72.
  • Page 45 The log can be created either by logging clips visually using device control or by typing In and Out points manually. In Adobe Premiere Pro, logged clips appear as a set of offline (placeholder) clips in the Project window or in a bin. In the Project window list view, the Capture Settings column indicates that a clip has specific capture settings assigned to it.
  • Page 46 By default, the settings Adobe Premiere Pro uses to batch-capture offline files are the project’s current capture settings. Offline files use capture settings in the following ways: If an offline file has its own capture settings, Adobe Premiere Pro uses those settings •...
  • Page 47 Project window. For efficient capture, Adobe Premiere Pro captures clips from the start of a tape to the end regardless of the order in which you selected the offline files. If you select offline files to be captured from multiple tapes, Adobe Premiere Pro captures each tape’s clips in one pass,...
  • Page 48 OK. 6 When the Insert Tape dialog box appears, insert the requested tape and click OK. If you are capturing from multiple tapes, be ready to insert each of them as Adobe Premiere Pro requests them. To cancel batch capture: Click the Stop button in the Capture Window, or press the Escape (Esc) key.
  • Page 49 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. Exported field data is exported from the corresponding columns in the List view of the Project window.
  • Page 50 145. Using CD 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. You can convert CDA files using an audio application such as Adobe Audition. Once you’ve converted the audio file to compatible file format such as WAV, import it using the File >...
  • Page 51 If you plan to export or play back the final cut from Adobe Premiere Pro, capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for final export or playback.
  • Page 52 Adobe Premiere Pro. Some formats may require that Apple QuickTime be installed. If you’re using an Adobe application to create a clip for use in Adobe Premiere Pro, turn on the Embed Project Link option in the originating Adobe application so that you can use Adobe Premiere Pro’s Edit Original command to open the clip in the...
  • Page 53 For best results, create files with a frame size at least as large as the frame size of the • project, so that you don’t have to scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project.
  • Page 54 In addition, you can import a layered Adobe Photoshop file as a sequence, allowing you to set up animations in Adobe Photoshop and then import them into an Adobe Premiere Pro project (see “Importing layered Adobe Photoshop files”...
  • Page 55 When creating three-dimensional images or animations for use in Adobe Premiere Pro, use the following guidelines whenever possible: Use broadcast-safe color filtering. • Use the pixel aspect ratio and frame size specified in the project settings in Adobe • Premiere Pro. Use the appropriate field settings to match your project.
  • Page 56 You can add the contents of an existing Adobe Premiere Pro (or earlier version) project to an open project. When you import a project into an open project, the imported project’s clips and sequences are added to the Project window in a bin named after the imported project.
  • Page 57 If an offline file appears in the timeline, a “Media Offline” message appears in the Program view and in the track. When you use the Capture window to log clips from a tape, Adobe Premiere Pro automatically creates offline files containing the exact information required to capture the clips later (see “Logging clips as offline files for batch capture”...
  • Page 58 4 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. If you’re creating an offline file for a source file that is captured but isn’t on your computer yet, type the name of that file.
  • Page 59 Analyzing clip properties and data rate 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 60 If you set a capture In point such as 00:00:01:09 but it occurs on the tape two or three times due to timecode restarts, Adobe Premiere Pro can’t be certain which In point is the one you intend to capture. For this reason, discontinuous timecode limits flexibility when batch-capturing or recapturing clips.
  • Page 61 Note: The Scene Detect feature in Adobe Premiere Pro recognizes the starting and stopping points recorded with the timecode on the original DV tape used to shoot the scenes.
  • Page 62 Digital media stored on tape must be transferred to disk before Adobe Premiere Pro can use it in a project. Adobe Premiere Pro can capture digital video from tape and save it to disk as clips that you can then add to your project.
  • Page 63 If you’re adding analog video to a DV project, you can digitize the analog video as if it were DV. This process adds DV timecode so that you can avoid compatibility problems and batch-capture using device control in Adobe Premiere Pro. There are several ways to convert analog video to DV: Use a DV camcorder with an analog video input, dub the analog tape to DV format tape, •...
  • Page 64 Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See “Capturing or importing various aspect ratios” on page 100. To prepare for DV video capture: 1 Connect the DV device (camcorder or deck) to your computer using an IEEE 1394 connection.
  • Page 65 IEEE 1394 connections are secure. To ensure that Adobe Premiere Pro can see the device, quit Adobe Premiere Pro, leaving the device on, and then restart Adobe Premiere Pro. Then open the Capture window, click the Play button , and click within the capture preview area.
  • Page 66 For online editing, you capture clips once at the level of quality required for the final version of the video program. This is the default method of working when you use Adobe Premiere Pro to capture and edit video, particularly DV.
  • Page 67 Adobe Premiere Pro automatically attempts to detect and compensate for the pixel aspect ratio of source clips. If a clip appears distorted in Adobe Premiere Pro, you can use Adobe Premiere Pro to manually indicate its pixel aspect ratio.
  • Page 68 (this option is off by default). If you want to change the size of an imported clip in Adobe Premiere Pro and its pixel aspect ratio is correct, select the clip and change the Scale property of the Motion effect.
  • Page 69 (decreases) the resolution of a file that does not match the project frame size. Because downsampling results in a higher-quality image, it is best to create files that are larger than the project’s frame size so that Adobe Premiere Pro does not have to upsample and enlarge the file.

  • Page 70: Assembling A Sequence

    File-size limitations The Adobe Premiere Pro Timeline window can contain up to 24 hours of video; however, the actual file-size limitation is not determined by Adobe Premiere Pro but rather by your capture card, operating system, and hard disk.
  • Page 71 Using Help | Contents | Index Back 104 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 104 To open a clip in Source view:...
  • Page 72 Click the current time display of the view you want to cue, and type the new time. • (You don’t need to type colons or semicolons. However, be aware that Adobe Premiere Pro interprets numbers under 100 as frames.) To go forward one frame, click the Frame Forward button .
  • Page 73 Using Help | Contents | Index Back 107 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 107 The full duration of a clip or sequence is represented graphically by its respective time ruler.
  • Page 74 All Quality settings use a bilinear pixel resampling method to resize the video image and do not process interlaced fields, if present. For exporting a sequence, however, Adobe Premiere Pro uses a cubic resampling method (which is superior to bilinear) and processes fields.
  • Page 75 For more information on the waveform monitor and vectorscope, see “Understanding the waveform monitor and vectorscope” on page 111. Using Help | Contents | Index Back 110 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 110 To choose a Display Mode setting: 1 In the Source or Program view, click the Output button , or click the triangle at the top right of the view.
  • Page 76 In order to faithfully digitize or reproduce video, postproduction and duplication facilities use hardware devices called waveform monitors and vectorscopes. Similarly, you can use the Adobe Premiere Pro software vectorscope and waveform monitor to accurately evaluate video levels—specifically, color and brightness. These instruments not only help you output a video program that meets broadcast standards but also assist you in making adjustments based on aesthetic considerations, such as color corrections.
  • Page 77 In the Program view’s pop-up menu, choose Gang to Reference Monitor. • Using Help | Contents | Index Back 113 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 113 Using the Timeline window Whereas the Program view of the Monitor window displays a sequence as it will appear on a video monitor, the Timeline window represents a sequence graphically, showing placement of clips in a horizontal timeline of video and audio tracks.
  • Page 78 OK. (The starting time must be a positive number.) Using Help | Contents | Index Back 114 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 114 To toggle the time ruler display between frames and audio samples: In the sequence pop-up menu, choose Audio Units to make the time ruler display audio samples.
  • Page 79 (Each icon is a toggle switch. Shift-click its box again to display all the icons and include the tracks.) Using Help | Contents | Index Back 116 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 116 Locking and unlocking tracks Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence.
  • Page 80 Using Help | Contents | Index Back 117 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 117 To specify the type of audio track you want to add, choose an option from the Track •...
  • Page 81 Using Help | Contents | Index Back 118 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 118 At the bottom left of the Timeline window, zoom controls also let you change the scale of the time ruler and view the sequence in more or less detail.
  • Page 82 To set In and Out points for a source clip, open a clip from a Project window. • Using Help | Contents | Index Back 120 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 120 To set In and Out points in the sequence, click the Program view.
  • Page 83 By default, you can also clear an In or Out point by Alt-clicking the Set In button or the Set Out button , respectively. Using Help | Contents | Index Back 121 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 121 Setting In and Out points for split edits Ordinarily, you set one In point and one Out point for a source clip.
  • Page 84 Using Help | Contents | Index Back 123 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 123 Working with markers is much the same as working with In and Out points; however, markers are only for reference and do not alter the video (except for markers set up as links).
  • Page 85 You can also drag a marker from the Timeline window’s marker button to any point in the time ruler. Using Help | Contents | Index Back 124 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 124 To add a numbered or unnumbered marker: 1 Do one of the following: To set a clip marker, open a clip in source view.
  • Page 86 • Using Help | Contents | Index Back 125 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 125 Dragging beyond either edge of a time ruler scrolls the time ruler. As usual, scrolling the Program window’s time ruler doesn’t affect the view of the sequence in the Timeline...
  • Page 87 By typing a Uniform Resource Locator (URL) under Web Links in the Marker dialog box, create an automatic link to that site at the marker’s location in the sequence. Adobe Premiere Pro embeds this information within movies. When these movies are included in...
  • Page 88 (which can have numerous video and audio tracks). Using Help | Contents | Index Back 128 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 128 You can specify the source tracks you want to use in the Source view of the Monitor window.
  • Page 89 Adobe Premiere Pro Help Assembling a Sequence Using Help | Contents | Index Back 129 Dragging clips into a sequence The most direct and intuitive way to assemble clips into a sequence is by dragging them from the Project window or Source view to the appropriate track in the Timeline window.
  • Page 90 (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 91 Ordering Specifies the method used to determine the order of the clips when they are added to the sequence. If you choose Sort Order, Adobe Premiere Pro adds clips in the order they’re listed in the Project window: from top to bottom in List view; or from left to right, top to bottom in Icon view.
  • Page 92 OK. Working with multiple sequences and nested sequences Adobe Premiere Pro not only allows you to create multiple sequences in a single project but also permits you to nest sequences inside other sequences. In other words, an entire sequence of clips can act as a single clip in another sequence within the same project.
  • Page 93 Bear in mind that all the sequences in a project must share the same timebase, which defines how Adobe Premiere Pro calculates time, and which cannot be changed after you create the project (see “Specifying project settings” on page 58).

  • Page 94: Editing A Sequence

    Because nested sequences can contain references to many clips, actions involving a • nested sequence may require additional processing time as 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 •...
  • Page 95 Using Help | Contents | Index Back 139 Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 139 To add or subtract a range of clips in the current selection, Shift-drag a marquee around •...
  • Page 96 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 “Processing interlaced video fields”...
  • Page 97 If Using Help | Contents | Index Back 141 Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 141 you are making the clip longer, the source clip must contain enough additional frames beyond its source In or Out point to accommodate the adjustment.
  • Page 98 Adobe Premiere Pro creates a new instance of the clip and any clips to which it is linked. By Alt-clicking with the razor, you can split only the audio or video portion of linked clips. Note: If you want to change effect settings over time, you needn’t split the clip; you can apply keyframes to a single clip instead.
  • Page 99 [V] and [A] labels. Even so, Adobe Premiere Pro keeps track of the link. If you relink the clips, they indicate whether they have been moved out of sync, and by how much.
  • Page 100 Adobe Premiere Pro or replacing files. Exported Adobe Premiere Pro movies can also be embedded with information that allows them to be opened using the Edit Original command that is in other applications, such as Adobe After Effects. To edit a clip in its original application: 1 Select a clip in either the Project window or Timeline window.
  • Page 101 Project Settings (see “Specifying project settings” on page 58). If you specified No Fields, Adobe Premiere Pro keeps the upper field unless you selected Reverse Field Dominance, in which case it keeps the lower field. This option is useful when freezing a frame in the clip.
  • Page 102 This shifts the video and audio out of sync, however.) Note: Adobe Premiere 6.5 or earlier don’t allow you to drag a clip to an occupied part of a track. Adobe Premiere Pro allows you to drag a clip over another clip to perform insert and overlay edits (see “Editing clips in the Timeline window”...
  • Page 103 You don’t need to hold down the Alt key after you initiate the editing task. Using Help | Contents | Index Back 149 Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 149 Performing insert and overlay edits in the Timeline window When dragging clips in time, you often move them to an unoccupied track, or align them to an adjacent clip (see “Moving clips in a sequence”...
  • Page 104 154. Using Help | Contents | Index Back 150 Adobe Premiere Pro Help Editing a Sequence Using Help | Contents | Index Back 150 Note: To trim only one track of a linked clip, press Alt as you click with a Trim icon. You do not need to hold down the Alt key once you initiate the trim.
  • Page 105 Drag right to move the 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 view and maintaining the clip and sequence duration.
  • Page 106 • 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 view and maintaining the clip and sequence duration. The only change to the clip you moved is its position in the sequence.
  • Page 107 Adobe Premiere Pro’s Real-Time Preview capability renders the frames of the sequence the fly, so that in most cases, previewing simply involves playing the sequence using any of the controls in the Program view or Timeline window. Adobe Premiere Pro’s Real-Time Preview supports all Adobe Premiere Pro effects, transitions, transparencies, motion settings, and titles.
  • Page 108 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. In the timeline, rendered areas are marked with a green line.
  • Page 109 The disk you choose must be large and fast enough to support video playback, so choose a hard disk attached to your computer, not a network drive. Also, because Adobe Premiere Pro must be able to locate the preview files when you open a project, avoid specifying...

  • Page 110: Adding Transitions

    While you can manually drag transitions to the timeline, you can instantly apply the default transition between clips by using the Apply Video Transition or Apply Audio Transition command. By default, Adobe Premiere Pro uses Cross Dissolve as the default video transition and Constant Power as the default audio transition. Default transition icons are marked by a red outline in the Effects window.
  • Page 111 Similarly, insufficient handles can limit a transition’s duration, causing it to be shorter than the default. If neither clip contains handles, Adobe Premiere Pro warns that the last frame of the first clip or the first frame of the second clip will be repeated to fill the transition duration.
  • Page 112 Note: If you see the Slide Transition icon when you position the pointer, you’ll drag the transition, not the current-time indicator. Using Help | Contents | Index Back 165 Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 165 Changing transition duration You can edit a transition’s duration in the Timeline window by dragging either end of the...
  • Page 113 To change the duration of a transition by specifying a value: In the Effect Controls window, change the Duration value. Using Help | Contents | Index Back 166 Adobe Premiere Pro Help Adding Transitions Using Help | Contents | Index Back 166 Changing transition settings...
  • Page 114 1 Double-click the transition in the timeline. 2 In the Effect Controls window, click the Custom button, specify options, and click OK. Using the Gradient Wipe transition Adobe Premiere Pro can use any importable grayscale image as a gradient wipe. In a...

  • Page 115: Mixing Audio

    Using Help | Contents | Index Back 170 About clip handles and transitions Adobe Premiere Pro creates a transition by using the handles at the beginning or end of a clip, if available. Handles are the captured frames outside a clip’s In and Out points. The handle between a clip’s Media Start time and In point is sometimes called head material,...
  • Page 116 Audio Mixer window. Planning your audio workflow You can edit, add effects to, and mix mono, stereo, or 5.1 surround audio tracks in Adobe Premiere Pro. You can control volume and pan/balance settings of audio tracks directly within the Timeline window, or use the Audio Mixer window to make changes in real time.
  • Page 117 Values applied at all of these levels will be combined for the final mix. 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.
  • Page 118 • displays and controls), choose Master Meters Only. To display hardware input levels on the VU meters (not track levels in Adobe Premiere • Pro), choose Meter Input(s) Only. When this option is on, you can still monitor audio in Adobe Premiere Pro for all tracks that aren’t being recorded.
  • Page 119 Using Help | Contents | Index Back 176 Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 176 To mute a track: Click the track’s Speaker icon in the Audio Mixer window.
  • Page 120 Click Normalize to have Adobe Premiere Pro optimize gain automatically. Clicking • Normalize changes the displayed value to indicate the amount of gain Adobe Premiere Pro automatically applies to reach maximum gain without clipping. If a clip has no volume keyframes set, you can also adjust overall gain for a selected clip by using the Volume property in the Effect Controls window.
  • Page 121 In point. Using Help | Contents | Index Back 178 Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 178 Cross-fading existing clips in the Timeline window usually requires extending the duration of one or more audio clips.
  • Page 122 When you output a stereo track to a stereo or 5.1 surround track, you can balance it. • When the output track contains fewer channels, Adobe Premiere Pro downmixes the • audio to fit it within the smaller number of channels. See “Downmixing to fewer channels”...
  • Page 123 A C D F E G B Using Help | Contents | Index Back 181 Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 181 3 Click the pop-up menu at the top left corner of the track; then choose Panner > Balance or Panner >...
  • Page 124 Choose Edit > Preferences > Audio Hardware, and set the following options. Input/Output Device Determines which connected audio device is routed into and out of Adobe Premiere Pro. For a device to be available, an up-to-date driver must be properly...
  • Page 125 ASIO Settings Specifies the ASIO settings for the selected device. The settings in this dialog are provided by the device and driver you are using, not by Adobe Premiere Pro. See the documentation for the ASIO device and driver you are using.
  • Page 126 Using Help | Contents | Index Back 185 Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 185 To edit track effect settings in the Audio Mixer window: 1 Make sure that the effect you want to edit is selected in the Effects list.
  • Page 127 “Applying effects to audio tracks” on page 184 and “Applying effects to audio clips” on page 185. In Adobe Premiere Pro, VST effects appear in the track effect menus in the Audio Mixer window, and also in the Audio Effects bin so you can apply them to individual clips. In most cases, VST effects appear in the Audio Effects bin and track type that corresponds to the number of channels the effect supports.
  • Page 128 Note: If an effect doesn’t support presets, Default is the only choice, which will reset the values of all options in the effect. Using Help | Contents | Index Back 187 Adobe Premiere Pro Help Mixing Audio Using Help | Contents | Index Back 187 Working with submixes A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence.
  • Page 129 Click the Mute button next to the send control knob for the selected send property. To delete a send: Choose None from the Send Assignment pop-up menu. Downmixing to fewer channels Whenever you route track output to a track or device with fewer channels, Adobe...
  • Page 130 However, downmixing can also occur in your 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...
  • Page 131 Adobe Premiere Pro always conforms audio files as they are imported. This may • decrease system performance as audio is being conformed. When audio is being conformed, you see a progress bar at the lower right corner of the Adobe Premiere Pro...

  • Page 132: Using The Adobe Title Designer

    Timeline window. You can work with more than one open Adobe Title Designer window at a time, and use a title in more than one project. New titles saved from the Adobe Title Designer appear in the active bin in the Project window.
  • Page 133 Double-click the title in the Project window or the Timeline window. Setting up a new title Once you open the Adobe Title Designer window, you can either create a title from scratch or load one of the included templates. The Adobe Title Designer drawing area is the same size as the frame size specified in the Project Settings dialog box.
  • Page 134 Timeline window and update the timecode to reflect the frame’s location on the timeline. If you add new footage to the Timeline window at the targeted time, the Adobe Title Designer displays the new footage. To show a frame of video behind the title: In the Adobe Title Designer window, select Show Video.
  • Page 135 Using Help | Contents | Index Back 197 Creating new titles with text and graphics Use the Adobe Title Designer to create text and graphic titles with a variety of attributes. You can use any vector font resident on your system, including Type 1 (PostScript), OpenType, and TrueType fonts.
  • Page 136 1 In the Adobe Title Designer window, click the path type tool or the vertical path type tool . Using a path type tool is similar to drawing with a pen tool. For information on using the pen tools, see “Working with the pen tool” on page 200.
  • Page 137 For more information, see “Using tabs” on page 217. Creating objects with the drawing tools In addition to creating text objects, you can also use the drawing tools in the Adobe Title Designer to create a variety of shapes such as rectangles, polygons, and ellipses.
  • Page 138 Working with the pen tool The Adobe Title Designer includes standard pen tools that resemble those used in graphic design applications such as Adobe Illustrator and Adobe Photoshop. Use the pen tools to create an object of any shape, including straight lines at any angle or smooth flowing curves.
  • Page 139 3 Drag the point in the straight segment where you want to create a curve. Working with points and curves The Adobe Title Designer includes tools for modifying existing paths. You can add anchor points and control points to paths and adjust the points as needed.
  • Page 140 210. To place a logo in a title: 1 Choose Title > Logo > Insert Logo. The Adobe Title Designer imports the logo at the size it was created. 2 Drag the logo to where you want it. If necessary, you can adjust the size, opacity, rotation, and scale of the logo.
  • Page 141 Select the logo and choose either Title > Logo > Restore Logo Size or Title > Logo > Restore Logo Aspect Ratio. Working with objects You can use the Adobe Title Designer to designate the order of your overlapping objects. You can also align or distribute objects and adjust their shape, size, position, and opacity. Arranging objects When you create objects that overlap each other, you can control their stacking order by using the Adobe Title Designer’s arranging function.
  • Page 142 To adjust various global properties of the objects, either drag their control points in the drawing area, use the controls in the Transform section of the Adobe Title Designer, or choose a command from the Title menu.
  • Page 143 Using Help | Contents | Index Back 207 Using object styles With the Adobe Title Designer, you can apply a custom style to each object or group of objects you create. Styles can consist of any variation of any properties you add to your objects.
  • Page 144 To change an object style for a graphic: 1 Select the graphic object you want to modify. 2 In the Object Style section of the Adobe Title Designer, click the arrow next to Properties, and set any of the following options: Graphic Type Specifies the shape of the graphic.
  • Page 145 3 Click the triangle next to Sheen and set options as desired. Loading textures You can map a texture to any object in the Adobe Title Designer. To add a texture, specify vector or bitmap file of your choosing (for example, an Adobe Photoshop file), or use one of several textures included with Adobe Premiere Pro.
  • Page 146 If the object is not tiled in a given direction, blank (alpha = 0) is used. Using Help | Contents | Index Back 211 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help | Contents | Index Back 211 Alignment Object X, Alignment Object Y Specifies to which part of the object the texture aligns.
  • Page 147 Deselect the Sheen or Texture option. Creating strokes The Adobe Title Designer gives you great flexibility in adding an outline, or stroke, to your objects. You can add both inner strokes and outer strokes. Inner strokes are outlines along the inner edge of your objects, and outer strokes are outlines along the outer edge. You can add up to 12 strokes to your objects.
  • Page 148 By default, Adobe Premiere Pro stores all saved styles in style libraries. When you save a style library, you are saving the entire set of styles that are displayed in the current Adobe Title Designer window. These are saved as .PRSL files in the Premiere Pro/Presets/Styles folder.
  • Page 149 To set a default style: 1 In the Styles section, select the style you want to set as the default style. 2 Choose Set Style As Default from the Styles menu. The Adobe Title Designer applies this style to each object you create from this point and retains the setting when you save the title.
  • Page 150 1 In the Styles section, choose Save Style Library from the Styles menu. All styles visible the Styles section are saved. 2 Specify a name and location for the style library file and click Save. Adobe Premiere Pro saves style library files with the .PRSL (Adobe Title Designer Style Library) extension.
  • Page 151 Using Help | Contents | Index Back 217 Using tabs Similar to a standard word processor, the Adobe Title Designer uses tabs to assist in text alignment and justification. When you create credits, especially rolling credits, tabs can help display the credits in professionally aligned and justified columns. You can set multiple tabs for any text object in the Adobe Title Designer.

  • Page 152: Superimposing And Compositing

    Sequence > Preview to build a preview file. To output the title to an external monitor: In the Adobe Title Designer window, click the Send Frame To External Monitor button . Using Help | Contents | Index Back 219 Adobe Premiere Pro Help Superimposing and Compositing...

  • Page 153: Applying Effects

    Areas where all tracks are empty or transparent appear black. If necessary, you can use File > Interpret Footage command to change how Adobe Premiere Pro interprets a clip’s alpha channel throughout a project.
  • Page 154 Using Help | Contents | Index Back 222 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 222 3 Position the pen tool over the white opacity graph line for the clip, and drag up or down.
  • Page 155 (see “Applying and controlling Standard effects” on page 244). Using Help | Contents | Index Back 223 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 223 The segments connecting keyframes form a graph that indicates changes in keyframe values along the duration of the clip or track.
  • Page 156 Add a keyframe, and then change its value in the Timeline window. (See “Specifying • keyframe values in the Timeline window” on page 225.) In the Effect Controls window, change the value of the property. Adobe Premiere Pro • automatically adds a keyframe. (See “Activating keyframes” on page 246.) 7 Repeat steps 4 and 5 as many times as you want to add more keyframes.
  • Page 157 • noncontiguous keyframes. Using Help | Contents | Index Back 225 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 225 With the pen tool, drag a marquee around the keyframes to select contiguous •...
  • Page 158 If the current-time indicator is positioned within a selected clip, keyframes are pasted in • that clip. If audio keyframes are cut or copied, Adobe Premiere Pro pastes in the first track where • it finds a corresponding effect property, looking first at a sequence’s audio tracks, then its submix tracks, and then the master track.
  • Page 159 Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not drag beyond the Threshold slider; doing so inverts gray and transparent pixels. Smoothing Specifies the amount of anti-aliasing that Adobe Premiere Pro applies to the boundary between transparent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges.
  • Page 160 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 229 Smoothing Specifies the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary 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 161 You can also use the Luma key to key out light areas by setting Threshold to a low value and Cutoff to a high value. Using Help | Contents | Index Back 230 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 230 Using the Multiply and Screen keys The Multiply and Screen keys use an underlying image as a map to determine what part of the keyed image to make transparent.
  • Page 162 Motion effect in Adobe Premiere Pro (see “Animating effects by using keyframes” on page 245 and “Animating effects in the Timeline window” on page 224).
  • Page 163 Select Matte Luma to composite using the image’s luminance values instead. Using Help | Contents | Index Back 233 Adobe Premiere Pro Help Superimposing and Compositing Using Help | Contents | Index Back 233 Reverse Inverts the values of the track matte.
  • Page 164 Applying Effects Introduction Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects.
  • Page 165 “Applying and controlling Standard effects” on page 244). The Effects window also lists Video transitions, which are discussed in “Adding Transitions” on page 162. The effects listed in the Effects window depend on the actual effect files in Adobe Premiere Pro’s Plug-Ins folder. You can expand the repertoire of effects by adding compatible Adobe plug-in files or plug-in packages available through other developers.
  • Page 166 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 237 The Effect Controls window includes a timeline, current-time indicator, zoom controls, and a navigator area similar to those found in the Program view and Timeline window. When a clip is selected in the Timeline window, the Effect Controls window automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline.
  • Page 167 Click the property value, enter a new value, and press Enter. • Using Help | Contents | Index Back 239 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 239 Expand the property by clicking the triangle next to the property name (if available), •...
  • Page 168 By default, a clip appears at 100% of its original size in the center of the Program view. Position, scale, and rotation values are calculated from the anchor point, which lies at the clip’s center. Adobe Premiere Pro continuously rasterizes scaled EPS files to prevent pixelization.
  • Page 169 4 Add or edit keyframes. For a uniform level setting, add just one keyframe to the time graph. Using Help | Contents | Index Back 242 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 242 Working with the Effects window Standard effects are listed in the Effects window and are organized into two main bins, Video Effects and Audio Effects.
  • Page 170 Delete Custom Items from the Effects window menu. Note: You can remove Favorites bins only from the Effects window. Using Help | Contents | Index Back 243 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 243 Working with Standard effects You can apply any number or combination of Standard effects to any clip in a sequence.
  • Page 171 Note: You cannot remove Fixed effects, which include Motion, Opacity, and Volume. Using Help | Contents | Index Back 244 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 244 To remove multiple effects applied to a clip: 1 In the Effect controls window, select the clip from which you want to remove all effects.
  • Page 172 Because Adobe Premiere Pro automatically interpolates the blur values between each keyframe, the blur gradually increases between the first and second keyframes and then gradually decreases between the second and third keyframes.
  • Page 173 Using Help | Contents | Index Back 247 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 247 time. You cannot restore deleted keyframes by reactivating the Toggle Animation button.
  • Page 174 Using Help | Contents | Index Back 248 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 248 To select a keyframe: Click the Keyframe icon. To select multiple keyframes: Shift-click to select multiple contiguous or noncontiguous keyframes.
  • Page 175 For an audio track, choose Show Clip Keyframes or Show Track Keyframes. • Using Help | Contents | Index Back 250 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 250 2 Using the Zoom In control, magnify the clip so that the effect pop-up menu appears.
  • Page 176 Using Help | Contents | Index Back 251 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 251 When you change the interpolation method for a keyframe, you may not notice a...
  • Page 177 A B C D E F G Using Help | Contents | Index Back 252 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 252 When you animate a clip’s position, the clip’s motion is represented by a motion path in the Program view.
  • Page 178 You can use effects to adjust the color of your clips to meet broadcast requirements or to match color from scene to scene. Adobe Premiere Pro includes two effects that allow you to easily correct color in video clips in either YUV or RGB color space. The Color Corrector...
  • Page 179 Enable the Video Limiter to adjust the output level automatically. • Using Help | Contents | Index Back 255 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 255 Enter values to set the upper limit for luminance in Luma Max, the upper limit for •...
  • Page 180 Bandpass, Bass, DeNoiser, Delay, Dynamics, EQ, Highpass, Invert, Lowpass, MultibandCompressor, Multitap Delay, Notch, Parametric EQ, PitchShifter, Reverb, Treble, Volume For details about individual audio effects, see “Audio effects included with Adobe Premiere Pro” on page 281. Video Effects Adobe Premiere Pro includes the following video effects: Adjust Convolution Kernel, Extract, Levels, ProcAmp, Brightness &...
  • Page 181 Video Field Interpolate, Broadcast Colors, Reduce Interlace Flicker For details about individual video effects, see “Video effects included with Adobe Premiere Pro” on page 258. Using effects from other products In addition to the dozens of effects included with Adobe Premiere Pro, many effects are available in the form of plug-ins, which you can purchase from Adobe or third-party vendors, or acquire from other compatible applications.
  • Page 182 Using Help | Contents | Index Back 258 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 258 Basic 3D The Basic 3D effect manipulates a clip in an imaginary three-dimensional space.
  • Page 183 Rate slider all the way to the left for the direction you do not want. A B C Using Help | Contents | Index Back 259 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 259 Width Specifies the wave width.
  • Page 184 Roll Rolls the camera, thus appearing to rotate the clip. Using Help | Contents | Index Back 261 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 261 Focal length Changes the focal length of the camera lens. Shorter lengths provide wider views, whereas longer focal lengths provide narrower but closer views.
  • Page 185 Using Help | Contents | Index Back 262 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 262 Chroma Key The Chroma Key effect keys out all image pixels that are similar to a specified key color.
  • Page 186 Use this effect to trim away noise and pixel skew that may result from overscanning during digitizing. If you want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Crop effect instead of the Clip effect.
  • Page 187 Video System Specifies the video system as PAL or NTSC. Using Help | Contents | Index Back 264 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 264 Method Provides options for adjusting out-of-limit colors. Reduce Saturation tends to wash out colors that are limited.
  • Page 188 2 Drag the Similarity slider to increase or decrease the range of the specified color. Using Help | Contents | Index Back 265 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 265 3 To reverse the effect, so that all colors except the specified color are preserved, select the Reverse option.
  • Page 189 Use the slider controls to crop each edge of the clip separately. You can crop by pixels or image percentage. If you don’t want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Clip effect instead of the Crop effect.
  • Page 190 0.25 times the Starting Intensity. A B C Using Help | Contents | Index Back 268 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 268 Echo Operator Specifies the operations to be performed between echoes. Add combines the echoes by adding their pixel values.
  • Page 191 Higher softness values produce more gray. 3 Select the Invert option to reverse the range that is converted to white and black. Using Help | Contents | Index Back 269 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 269 Facet The Facet effect clumps pixels of similar color values in cells for a painterly effect.
  • Page 192 Keyframes cannot be applied to this effect. Using Help | Contents | Index Back 270 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 270 Green Screen Key...
  • Page 193 Brightness Specifies the percentage of brightness. Values can range from 10% to 300%. Using Help | Contents | Index Back 271 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 271 Flare Center Specifies a location for the center of the flare.
  • Page 194 Using Help | Contents | Index Back 272 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 272 Branch Angle Specifies the size of the angle between a branch and the main lightning bolt.
  • Page 195 Selecting this control may increase rendering time. Using Help | Contents | Index Back 273 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 273 Luma Key The Luma Key effect removes all the regions of a clip that have a specified luminance or brightness.
  • Page 196 Using Help | Contents | Index Back 274 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 274 Noise Type Randomly changes the red, green, and blue values of the image’s pixels individually when Use Color Noise is selected.
  • Page 197 Using Help | Contents | Index Back 276 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 276 Use Background Color to specify the new background color when you want to change the...
  • Page 198 This effect is analogous to briefly exposing a print to light during developing. Using Help | Contents | Index Back 277 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 277 Spherize The Spherize effect wraps a clip around a spherical shape and is useful for giving objects and text a three-dimensional effect.
  • Page 199 Transparency, selecting Alpha Channel, and then selecting either Background color or Foreground color. Using Help | Contents | Index Back 278 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 278 Tint The Tint effect alters an image’s color information.
  • Page 200 Rotation Specifies the number of complete rotations and degree that the clip rotates. Opacity Specifies the degree of transparency of the image, in percentages. Note: Transform is an Adobe After Effects effect that includes the Shutter Angle control and Use Composition option; both of those controls apply only in Adobe After Effects.
  • Page 201 Around Center rotates pixels around the center of the clip. Audio effects included with Adobe Premiere Pro Adobe Premiere Pro includes a variety of audio effects designed to alter or enhance the properties of audio clips. Most audio effects are available in multiple versions for mono, stereo, and 5.1 clips and can be applied to either clips or tracks, unless specified...
  • Page 202 Using Help | Contents | Index Back 281 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 281 Compressor Balances the dynamic range to create a consistent level throughout the duration of the clip by increasing the level of soft sounds and decreasing the level of loud sounds.
  • Page 203 Frequency and Gain. Mid bands include two additional controls for adjusting the Qfactor. Using Help | Contents | Index Back 282 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 282 Frequency Specifies the amount by which to increase or decrease the band (between 20 and 2000 Hz).
  • Page 204 Ratio 1-3 Specifies the rate of compression, up to 8:1. Using Help | Contents | Index Back 283 Adobe Premiere Pro Help Applying Effects Using Help | Contents | Index Back 283 Attack 1-3 Specifies the time (between 0.1 and 100 milliseconds) the compressor takes to respond to a signal that exceeds the threshold.
  • Page 205 You can open an Adobe Premiere 5.0 project in Adobe Premiere 6.0 or 6.5 to view and render effects. However, Adobe Premiere Pro does not support Adobe Premiere 5.0 effects and removes these if you open an Adobe Premiere 6.0 project file that contains them.

  • Page 206: Producing Final Video

    If a compatible DVD writer is connected to your computer, you can create a DVD directly from a sequence. Adobe Premiere Pro makes the best use of the space available on a by automatically balancing properties such as bitrate and image quality. A DVD you create using Adobe Premiere Pro automatically plays back from the beginning of the disc when inserted in a DVD player.
  • Page 207 Fields Select a field dominance setting only if you want to override the field dominance settings in the selected preset. Maximize Bitrate Select if you want Adobe Premiere Pro to calculate and use the highest bitrate that will allow the content to fit on the DVD. This will override the bitrate specified in the selected preset.
  • Page 208 The Export To DVD command detects only burners that are connected and turned on at the time you launched Adobe Premiere Pro. If you connected and turned on any burners after that point, they are not recognized until you click Cancel, restart Adobe Premiere Pro, and choose the Export To DVD command again.
  • Page 209 Use the Transcode Settings dialog box to manage transcoding presets. This dialog box appears when you choose File > Export > Adobe Media Encoder. The default settings are designed to achieve optimal quality for various project types. You can save, import, export, and delete presets.
  • Page 210 DVD-video. It is also a requirement for NTSC discs. MainConcept MPEG Audio is a high-quality encoder included with Adobe Premiere Pro. • Using Help | Contents | Index Back 294 Adobe Premiere Pro Help Producing Final Video Using Help | Contents | Index Back 294 PCM (pulse-code modulation) Audio is a lossless audio format sampled at 48 kHz.
  • Page 211 To export a preset: 1 Choose File > Export > Adobe Media Encoder. 2 Choose the preset you want to export from the Presets pop-up menu. 3 Alt-click the disk button to display the Export Preset Dialog.
  • Page 212 Adobe Premiere Pro provides two ways to export a sequence. You can export as a standard movie file, such as Windows AVI. You can also use the Adobe Media Encoder to encode exported program for specific media delivery, such as Windows Media over a dial-up modem or MPEG-1 for a video CD.
  • Page 213 Adobe Premiere Pro. If you don’t have a device that Adobe Premiere Pro can control, you can still play the sequence and record the playback output manually. For more about device control, see “Using device control”...
  • Page 214 6 For Preroll, type the number of frames that you want Adobe Premiere Pro to back up on the recording deck before the specified timecode. Specify enough frames for the deck to reach a constant tape speed.
  • Page 215 Opening a project in Adobe After Effects You can import a saved Adobe Premiere Pro project file into Adobe After Effects and apply finishing touches such as advanced keying features, effects, and animations. The following list describes how Adobe Premiere Pro features are imported by Adobe After Effects: All clips transfer with their folder hierarchy.
  • Page 216 Video option is automatically deselected and unavailable. You can also export audio by using the Adobe Media Encoder (“Using Adobe Media Encoder transcode presets” on page 292) and deselecting the Video option.
  • Page 217 Exporting a filmstrip file for editing in Adobe Photoshop When you want to edit a clip in Adobe Photoshop, you can export to the Filmstrip format, which was specifically created for this purpose. The Filmstrip format is useful when you want to paint directly on video frames, a process known as rotoscoping.
  • Page 218 6 Specify a location and filename, and then click Save. After editing the filmstrip and saving it in Filmstrip format from Photoshop, use it as a clip in an Adobe Premiere Pro project by importing it as you would any other compatible file. See “Importing clips” on page 81.
  • Page 219 Add to Project When Finished Select if you want the exported file to be added to the Project window after exporting is complete. Beep When Finished Select if you want Adobe Premiere Pro to sound an alert when exporting is complete.
  • Page 220 Note: In some codecs, quality and data rate are interrelated, so that adjusting one option automatically alters the other. Recompress Select to ensure that Adobe Premiere Pro exports a video file that is under the data rate you specified. Choose Always from the Recompress menu to compress...
  • Page 221 Optimize Stills Select this option to use still images efficiently in exported video files. For example, if a still image 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.
  • Page 222 You can limit the data rate of your program simply by specifying it in Adobe Premiere Pro, but if the video file still does not play well on your audience’s computers, you may also want to make the following adjustments: Lower the data rate and quality as far as you can without losing too much picture •...
  • Page 223 CD-ROM playback. Match the data rates of your exported video to the networks through which you expect to deliver the video. The Adobe Media Encoder contains presets for many bandwidth scenarios so that you can more easily match the viewing capabilities of your audience.
  • Page 224 When you export a sequence from Adobe Premiere Pro, the way you adjust settings for export depends on the kind of output you want: When recording to DVD (File > Export > Export to DVD), Adobe Premiere Pro starts with •...
  • Page 225 DVD production The data rate should maximize quality while fitting the entire program within the space available on the DVD. In Adobe Premiere Pro, by default the DVD data rate is automatically adjusted by the Adobe Media Encoder, which is used by the Export >...

  • Page 226: Keyboard Shortcuts

    About creating motion-picture film If you are editing a project for viewing on motion-picture film, first export the Adobe Premiere Pro video sequence to a video file using settings appropriate for the film stock.

  • Page 227: Legal Notices

    Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement.
  • Page 228 Help 4 installing 4 learning resources 8 task lists 5 Adobe Title Designer 198 Advanced Authoring Format 300 AI. See Adobe Illustrator (AI) file format AIF, AIFF file format 81, 303 aligning clips 148 objects 205 Alpha Adjust effect 258...
  • Page 229 84 Using Help | Contents | Index Back 316 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 316 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 230 Automatch Time 192 Using Help | Contents | Index Back 317 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 317 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 231 batch capture settings 74 batch capturing about 72 logging clips 72 recapturing 77 troubleshooting 76 batch lists importing and exporting 76 recapturing using 77 setting up 66 Bend effect 259 Bevel Alpha effect 260 Bevel Edges effect 260 bins about 48 adding and deleting 49 displaying contents 49 effects 243...
  • Page 232 71 Using Help | Contents | Index Back 318 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 318 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z CD.
  • Page 233 87 Using Help | Contents | Index Back 319 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 319 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 234 Color Emboss effect 265 Color Match effect 256, 265 color matching filter, adjusting with a reference monitor 112 Color Offset effect 265 color palettes 304 Color Pass effect 265 Color Replace effect 266 color safe See vectorscope colors adjusting 262, 263, 279 balance in 254 bit depth 304 correcting 254...
  • Page 235 Delay effect 282 Using Help | Contents | Index Back 320 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 320 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 236 digitizing 92 See also capturing direction lines 201 Directional Blur effect 268 Display Format option 60 display mode 110 Display Only Exact Name Matches button 41 Distort effects category 257 distributing objects 205 documentation overview 8 dominant field 145 dots, creating illusion of 276 downmixing 190 drawing curves with pen tool 201...
  • Page 237 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 321 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Easy Curve In/Out interpolation 251...
  • Page 238 257 effects list, Audio Mixer 174, 175 Effects palette 162 ellipse tool 200 Emboss effect 270 Enable command 140 Encore See Adobe Encore DVD EQ effect 283 even field See video fields excluding tracks 116 expanding tracks 115 Export settings...
  • Page 239 fields field order 145 project setting 60 file formats 81, 309 titles 193 files missing 42 offline 42 size limitations 102 temporary 57 Fill Left and Fill Right effects 284 film, appearance of 276 film, motion-picture 59, 98, 311 Filmstrip (FLM) file format 85, 301, 303 Find Edges effect 270 FireWire.
  • Page 240 308 History palette 44, 45, 54 Horizontal Flip effect 271 Horizontal Hold effect 271 horizontal text 197 hue 112 IEEE 1394 93, 94 iLInk. See IEEE 1394 Illustrator. See Adobe Illustrator (AI) file format Image Control effects category 257...
  • Page 241 Image Mask transition 168 Image Matte key 230 Image Matte Key effect 271 images darkening or lightening 260 importing Adobe Premiere Pro projects 85 animations 84 CD audio 78 clips 81 compressed audio 78 digital audio 78 file formats 81...
  • Page 242 keyframe graph 223 keyframes activating 246 adding 224 adjusting 250 animation 306 audio volume 223 copying and pasting 226, 249 deleting 227, 250 displaying 223 editing 222 interpolation methods of 250 navigating 224, 248 opacity 223 removing 224 See also compression keyframes selecting 224, 248 specifying values for 225 summary 250...
  • Page 243 Locate File dialog box 42 Using Help | Contents | Index Back 325 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 325 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 244 Mute button 174 Using Help | Contents | Index Back 326 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 326 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 245 timebase for 59 video levels 111 NTSC safe 111 Numbered Stills option 85 object style properties, adjusting for text 207 objects about 197 adding strokes for 211 aligning 205 changing opacity of 205 changing position of 205 changing rotation of 205 creating shadows for 212 creating strokes for 211 creating styles for graphics 208...
  • Page 246 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z pen tool 200, 201, 224, 225 Perspective effects category 257 Photoshop. See Adobe Photoshop (PSD) file format PICT file format...
  • Page 247 85 Using Help | Contents | Index Back 328 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 328 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 248 40 Properties window 89 properties, clips 89 PSD. See Adobe Photoshop file format quality during previews 158 QuickTime (MOV) editing mode 59 encoding presets 295 exporting 303, 304, 308 flattened movies 303 metadata 295 Radial Blur effect 277 Ramp effect 277...
  • Page 249 Using Help | Contents | Index Back 329 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 329 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 250 characters 198 keyframes 224 text boxes 198 selection tool 150 sends 189 about 188 sends lists 174, 175, 188 sends list 189 sequence opening the source of nested 137 Sequence Zero Point command 114 sequences assembling 127 creating 135 default settings 136 multiple 135 nesting 136, 137 opening in the Source view 136...
  • Page 251 103 Using Help | Contents | Index Back 330 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 330 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 252 194 text creating styles for 207 setting tabs in 217 text boxes 198 text tools 197 textures, using Adobe Photoshop files as 209 Texturize effect 279 TGA. See Targa (TGA) file format three-point editing 133 thumbnail viewer 46 TIFF, TIF...
  • Page 253 Time effects category 257 time ruler Monitor window 107 using in a reference monitor 113 timebase changing 40 divisions 122 setting for project 59 timecode Audio Mixer display 174 burned-in 92 capturing and 63, 92 entering 65 offset 68 recording at specific 298 replacing 91 setting manually 92 using for efficient capture 89...
  • Page 254 118 Using Help | Contents | Index Back 332 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 332 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 255 145 Using Help | Contents | Index Back 333 Adobe Premiere Pro Help Index Using Help | Contents | Index Back 333 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z...
  • Page 256 recording to 297, 299 viewing area bar in the Monitor window 108 in the Timeline window 118, 119 viewing mode in a reference monitor 112 Virtual Studio Technology See VST plug-ins visual timecode 92 voiceovers 79, 182 Volume effect 242, 286 volume, keyframes 223 VST plug-ins 184, 186 VU meters 174...

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