Adobe PREMIERE 5 User Manual

Table of Contents

Quick Links

User Guide

Adobe

Premiere

5.0

Table of Contents

Summary of Contents for Adobe PREMIERE 5

Page 1 User Guide Adobe Premiere ® ®...
Page 2 The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.
Page 3: Table Of Contents
......6 What’s New in Adobe Premiere 5.0 ..... . 7 A Tour of Creating the bicycle advertisement: ﬁrst steps...
Page 4 CONTENTS Working with Projects Starting a project ........57 Specifying project settings .
Page 5 Editing Video Using the Monitor window ......131 Using the Timeline window ......138 Editing In and Out points .
Page 6 CONTENTS Superimposing and About transparency ....... . 259 Compositing with Using the Fade control .
Page 7 Measuring Measuring time ........335 Time and Frame Size Understanding timecode and time display options .
Page 9: Getting Started With Adobe Premiere
Animated GIF format. About this guide The Adobe Premiere User Guide provides detailed information about using Premiere. It is designed to be used as a reference tool in your everyday work with Premiere. This manual provides instructions for using Premiere on both Windows and Mac OS systems. Any differences in Premiere procedures between operating systems are noted in the text.
Page 10: Windows 95/Windows Nt 4.0 Systems Requirements
Getting Started with Adobe Premiere 5.0 Windows 95/Windows NT 4.0 systems requirements The following hardware and software are required to run Adobe Premiere: Intel Pentium processor or 100% compatible • Microsoft Windows 95 or Windows NT 4.0 (or later versions) operating system •...
Page 11: Power Macintosh System Requirements
ADOBE PREMIERE 5.0 User Guide Power Macintosh system requirements The following hardware and software are required to run Premiere: PowerPC processor • System Software 7.5.5 or greater (or 7.5.1 with Radius VideoVision only) • 16 MB of application RAM •...
Page 12: The Premiere Package Contents
Adobe Premiere Quick Reference Card. • Registration card. • A card or brochure that details Adobe technical support policies and describes the ways • you can obtain technical support. Adobe Acrobat Reader software, which allows you to view the online documentation and •...
Page 13 Adobe software at no additional cost. Photoshop LE offers many of the features found in the full retail version of Adobe Photoshop; you can install Photoshop LE and register the product online or with the registration card you use for Premiere. Additional tryout versions of Adobe products on the discs include Adobe After Effects , Adobe Illustrator , Adobe PageMaker , and more.
Page 14: About Adobe Products And Services
Getting Started with Adobe Premiere 5.0 About Adobe products and services For information about Adobe products and services, you can visit the Adobe site on the World-Wide Web (http://www.adobe.com) if you have Internet access. You can also open the Adobe Web site from within Premiere (provided you are connected to the Internet) by choosing File >...
Page 15: What's New In Adobe Premiere 5.0
Plug-ins folder inside the folder in which you installed Premiere. What’s new in Adobe Premiere 5.0 Premiere 5.0 includes dozens of new and improved features for creating and editing video programs from your desktop. This version of Premiere also includes enhancements that improve both quality and performance speed in such areas of the program as editing, previewing, capturing, and outputting.
Page 16 The new shy track feature lets you hide a track while still including its clips in the ﬁnal output. Many of these new concepts and interface elements are modeled on those in the Layers palette found in Adobe Photoshop, Illustrator, and PageMaker.
Page 17 ADOBE PREMIERE 5.0 User Guide Monitor window The new Monitor window in effect combines the Clip, Preview, and Trimming windows of past versions into a single window, better replicating a professional video-editing suite. The window includes two views: Source view for playing and editing individual clips, and Program view for displaying the contents of the Timeline.
Page 18 Getting Started with Adobe Premiere 5.0 A related improvement is project archiving: You can specify how often project ﬁles are saved and whether to create separate ﬁles. Creating separate ﬁles lets you go back to different stages of a project for reference, for back-up purposes, or to “undo” a stage of work in the project.
Page 19 You can even group and dock palettes for more efﬁcient handling. The Navigator palette, modeled on the Adobe Photoshop feature, lets you see at a glance where you are within a project by showing a miniature of the entire length of the project, and a small display window highlighting the area currently visible in the Timeline.
Page 20 Get up to speed fast thanks to an interface consistent Integration with Adobe product family with other Adobe products. If you’re familiar with software such as Photoshop, you’ll appreciate the common look and feel, shared keyboard shortcuts, and features such as tabbed palettes, support for Photoshop ﬁlters, and the ability to import Photoshop layers...
Page 23: A Tour Of Adobe Premiere
Explorer (Windows) or Finder (Mac OS), double-click the Tour.mov ﬁle in the Tour folder in your Premiere folder (if you installed the Tour with Premiere) or on the Adobe Premiere Application CD-ROM disc (if you did not install the Tour).
Page 24 (Windows) Use the Explorer to locate the Prem50.prf ﬁle inside the Windows folder and • move it to another folder. (Mac OS) Use the Finder to locate the Premiere 5.0 Prefs ﬁle in the Preferences folder in • your System folder and move it to another folder.
Page 25: Specifying Project Settings
ADOBE PREMIERE 5.0 User Guide Insert the Adobe Premiere Application CD-ROM disc into your CD-ROM drive. (In Windows only, a startup screen appears on most systems if the Windows autoplay feature is enabled. When the screen appears, click the Explore this CD-ROM button.) Use the Explorer (Windows) or Finder (Mac OS) to copy the Tour folder from the CD-ROM disc onto your hard drive.
Page 26: Importing The Clips
CHAPTER 1 A Tour of Adobe Premiere Because the 4:3 Aspect option is checked, 180 appears automatically for the height of the preview frame. This setting controls how the project is previewed on your monitor. For Frame Rate, specify 15, and then click OK.
Page 27 ADOBE PREMIERE 5.0 User Guide In Mac OS, choose File > Import > Multiple, open the Tour folder you copied or installed • from the Premiere Application CD-ROM disc, and then open the Clips folder. Then select Boys.mov and click Import. Do the same for the Cyclers.mov, Fastslow.mov, and Finale.mov ﬁles, and then click Done.
Page 28: Creating A Rough Cut
CHAPTER 1 A Tour of Adobe Premiere Creating a rough cut For many projects, you may want to begin by creating a rough cut of your video program. A rough cut is simply a sequence of clips assembled in the general sequence you want, with little or no editing.
Page 29 ADOBE PREMIERE 5.0 User Guide Note: If the Video 1A track is not expanded (that is, set to show the Transition track and the Video 1B track with which it is associated), click the arrow to the left of the track label so that the tracks appear as they do in the following illustration.
Page 30 CHAPTER 1 A Tour of Adobe Premiere Now you have four clips in your Video 1A track, forming a video program about 32 seconds in length. This is a rough cut, giving you some idea of how your sequence works and what needs to be trimmed, edited, and modiﬁed.
Page 31: Previewing In The Monitor Window
ADOBE PREMIERE 5.0 User Guide The clips now take up less horizontal space, since you’re now displaying the Timeline contents in a time unit requiring less detail. Now it’s time to play the sequence of clips you’ve imported. Previewing in the Monitor window To see how your work is progressing, you can preview one or more clips in the Monitor window.
Page 32: Trimming Clips In The Monitor Window
CHAPTER 1 A Tour of Adobe Premiere The rough cut of your video program plays until the end. Note that the edit line in the Timeline moves in tandem with the preview. This edit line indicates the active frame—the frame being edited or previewed.
Page 33 ADOBE PREMIERE 5.0 User Guide In the Video 1A track of the Timeline window, double-click the Boys.mov clip. The ﬁrst frame of the Boys.mov clip appears in the Source view of the Monitor window. Before you trim, ﬁrst play the clip.
Page 34 CHAPTER 1 A Tour of Adobe Premiere Under the Source view, drag the shuttle slider until you see the ﬁrst bike rider at the end of his ride. (The time below the shuttle slider should read between 4:20 and 5:00 seconds.) Click the Mark Out point button ( ).
Page 35 ADOBE PREMIERE 5.0 User Guide Premiere trims the end of the clip to give the clip a new Out point. It’s important to understand that the trimmed area has not been deleted; Premiere has merely hidden the trimmed frames so that they don’t appear in the Timeline and will not appear when you preview or export the video program.
Page 36: Adding Audio
CHAPTER 1 A Tour of Adobe Premiere Click the Cyclers.mov clip in track 1A. This clip, and the clips to the right, are selected. Drag the selection to the left, until it is up against the Boys.mov clip. Click the selection tool ( ), since you are through with the track selection for now.
Page 37: Trimming Clips In The Timeline Window
ADOBE PREMIERE 5.0 User Guide The expanded view shows the waveform of the clip. The waveform displays the volume of the audio over time. Higher peaks in the waveform indicate greater volume. In the next section, you’ll come back to the audio track to synchronize events in the video with the music. For now, you’ll lock the track so it doesn’t get repositioned later.
Page 38 CHAPTER 1 A Tour of Adobe Premiere The Timeline window now displays every eighth frame. First, you’ll adjust the trim you made to the Boys.mov clip so that its Out point is synchronized with the ﬁrst spike in the audio track.
Page 39 ADOBE PREMIERE 5.0 User Guide Now you’ll trim the Cyclers.mov clip so that its endpoint corresponds with an exact point in the Timeline. To trim the Cyclers.mov clip to this time, you’ll use the Info palette. Select the Cyclers.mov clip and choose Window > Show Info.
Page 40: Adding A Transition
To add texture, nuance, or attention-getting special effects between scenes, you can use special transitions available in Premiere 5.0, such as dissolves, wipes, and zooms. In this tour, you’ll use the Cross Dissolve transition. Choose Window > Show Transitions.
Page 41 ADOBE PREMIERE 5.0 User Guide If you ﬁnd the animation distracting, you can turn it off by once again choosing Animate from the Transitions palette menu to deselect the option. If the Video 1 track is not expanded, click the arrow to the left of the track.
Page 42: Previewing Transitions And Other Effects
CHAPTER 1 A Tour of Adobe Premiere Drag the Cross Dissolve transition into the Timeline window, placing it in the Transition track (the area where the two clips overlap). When you release the mouse, the transition is automatically sized to the overlap and displayed as an icon.
Page 43 ADOBE PREMIERE 5.0 User Guide Drag the pointer in the time ruler over the transition, keeping the Alt or Option key held down. The Cyclers.mov clip dissolves into the Fastslow.mov clip, over a duration of one second. Dragging in this fashion provides a quick method for previewing your video program but cannot give you a precise frame rate, since you’re moving it by hand.
Page 44: Splitting A Clip
CHAPTER 1 A Tour of Adobe Premiere Drag the right end of the work area bar so that it extends the length of the ﬁrst three clips and aligns with the end of the Finale.mov clip. Choose Project > Preview or press Enter (Windows) or Return (Mac OS) on the keyboard.
Page 45 ADOBE PREMIERE 5.0 User Guide In the Timeline window, move the edit line across the Fastslow.mov clip until you see the shot of the unobstructed bleachers (11:18). Leave the edit line positioned at this point. In the Timeline window, select the razor tool ( ).
Page 46: Changing The Speed Of A Clip
CHAPTER 1 A Tour of Adobe Premiere Changing the speed of a clip You can change the playback speed of a clip to make it play slower or faster. Changing the speed changes its duration without adding or removing any frames. To make the bike sequence more interesting and attention-getting, you’ll slow down the second portion of...
Page 47 ADOBE PREMIERE 5.0 User Guide In the dialog box, type 30 in the New Rate box. Click OK. The playback speed of the clip is now at 30% of its original speed. Accordingly, the duration of the clip has increased proportionally, approximately tripling in length.
Page 48: Changing A Clip's Opacity
CHAPTER 1 A Tour of Adobe Premiere Now let’s generate another preview. Drag the right end of the work area bar to the right so that it extends to the end of the Fastslow clip in the Video 2 track.
Page 49 ADOBE PREMIERE 5.0 User Guide The handle divides the control bar into sections that you can adjust by dragging. A control bar includes a handle at each end to deﬁne the beginning and ending opacity settings. In the Video 2 track of the Timeline window, click the rightmost handle. Keep the mouse button depressed throughout the next step.
Page 50: Adding Special Effects To A Video Clip
Adding special effects to a video clip Premiere 5.0 lets you create many different kinds of special effects using video ﬁlters. For the last clip in the video program, you’ll add the Camera Blur effect, which blurs a clip as if it were leaving the focal range of the camera.
Page 51 ADOBE PREMIERE 5.0 User Guide The Camera Blur ﬁlter appears in the Current column of the Filters window. Filters listed in this column are applied to the currently selected clip. To create an effect of changing focus, you can vary the Camera Blur effect over time. To do this, you set keyframes.
Page 52 CHAPTER 1 A Tour of Adobe Premiere Drag the slider bar until the Blur is at 80%, and then click OK. Now you’ll position this keyframe at an exact time. Drag the keyframe you just created until the timecode reads 00:00:25:00 (25 seconds).
Page 53: Superimposing An Image
ADOBE PREMIERE 5.0 User Guide Why not just use two keyframes—the ﬁrst at 0% and the last at 80%? Premiere always creates a linear change between keyframes. Therefore, if you used only two keyframes, the blurring would gradually increase over the duration of the clip. This is not the effect you want; rather, you want the blur to happen fairly quickly, and then remain at that level for its duration.
Page 54 CHAPTER 1 A Tour of Adobe Premiere In the Timeline window, select the selection tool. Drag the right edge of the Veloman.eps image to the right until it snaps to the end of the Finale.mov clip. The image now overlaps the Finale.mov clip in the Timeline window. The overlapping area is where the logo will be superimposed on the bike race.
Page 55 ADOBE PREMIERE 5.0 User Guide To specify that certain areas of a clip become transparent and other areas remain opaque, you need to use a transparency key. A transparency key (often referred to simply as a key) makes designated colors (or a range of colors) in a clip transparent or partially transparent. A blue screen key, for example, makes a shade of blue transparent;...
Page 56: Animating A Clip
CHAPTER 1 A Tour of Adobe Premiere In the Sample area of the dialog box, the white areas of the Veloman.eps image are now transparent, letting the underlying image—the Finale.mov clip—show through. Click OK. To preview the effect, hold down the Alt key (Windows) or the Option key (Macintosh) and drag in the time ruler over the area where the superimposition occurs.
Page 57 ADOBE PREMIERE 5.0 User Guide Choose Clip > Video > Motion. In the middle of the dialog box is the motion path for the clip. By default, the path is a straight line, starting outside the frame on the left, and ending outside the frame on the right.
Page 58 CHAPTER 1 A Tour of Adobe Premiere You can also specify the position of the image by entering coordinates. You’ll do that now. Select the End point, and then enter 26 and -8 in the two text boxes below the line that reads “Click on a point above.”...
Page 59 ADOBE PREMIERE 5.0 User Guide Now you’ll specify zoom values for the start and end points. In the Motion Path area, select the Start point. In the Zoom box at the bottom of the dialog box, type 0, and then press Tab.
Page 60: Exporting The Movie
CHAPTER 1 A Tour of Adobe Premiere Move the work area bar to cover the last portion of your video program, where the image begins. Press Enter (Windows) or Return (Mac OS) and watch the preview. Save the project. All you need to do now is make the QuickTime movie.
Page 61 If you found this tour helpful, you can continue on with similar step-by-step instructions for achieving effects in Premiere. Three chapters and source clips from the Adobe Premiere 5.0 Classroom in a Book publication are provided on the Adobe Premiere Application CD-ROM disc.
Page 65: Working With Projects
ADOBE PREMIERE 5.0 User Guide Chapter 2: Working with Projects project is a single Premiere ﬁle that describes a video program. It stores references to all the clips in that ﬁle and contains information about how you arranged the clips.
Page 66: Specifying Project Settings
CHAPTER 2 Working with Projects Specifying project settings When you start a project, review the project settings, which are organized into ﬁve categories: Control the fundamental characteristics of the video program, including General Settings the methods Premiere uses to process video, count time, and position edits. Video Settings Control the frame size, picture quality, and compression settings Premiere uses when you play back video from the Timeline, the window where you edit your video program.
Page 67 ADOBE PREMIERE 5.0 User Guide If you are about to export the video program to a ﬁle and you want to specify different • settings than you did for editing, you must also specify export settings, which are available through the File > Export command, not in the Project Settings dialog box. This lets you use separate settings for previewing and exporting.
Page 68 CHAPTER 2 Working with Projects Editing Mode Determines which video method is used to play video back from the Timeline and which compression methods are listed in the Video Settings panel. The QuickTime and DPS Perception editing modes are installed with Premiere. In Windows, the Video for Windows editing mode is also installed with Premiere.
Page 69 ADOBE PREMIERE 5.0 User Guide Video settings When you choose Project > Settings > Video, you can specify the following options: Speciﬁes the codec (compressor/decompressor) for Premiere to apply when Compressor playing video back from the Timeline. The codecs available depend on the Editing Mode you chose in the General Settings panel.
Page 70 CHAPTER 2 Working with Projects and Compressor support 256 colors. When available, click Palette and then either select Make Palette From Movie to derive a color palette from the frames used in the video program, or select Load Palette Now to import a color palette you prepared and saved previously. You can load color palettes stored in the .ACO (Photoshop color swatch), .ACT (Photoshop color palette), or .PAL (Windows palette—Windows only) format.
Page 71 ADOBE PREMIERE 5.0 User Guide Audio settings When you choose Project > Settings > Audio, you can specify the following options:. Rate Higher rates provide better audio quality when you play audio back from the Timeline but require more disk space and processing. Resampling, or setting a different rate than the original audio, also requires additional processing time;...
Page 72 CHAPTER 2 Working with Projects Enhanced Rate Conversion When playing audio back from the Timeline, speciﬁes a level of quality for converting the sample rates of clips in the Timeline to the sample rate you speciﬁed in the Rate option. Enhanced Rate Conversion controls both rate upsampling and down- sampling.
Page 73 ADOBE PREMIERE 5.0 User Guide Select to play back audio from the Timeline without applied audio ﬁlters. Ignore Audio Filters Select to play back video from the Timeline without applied video ﬁlters. Ignore Video Filters Select to play audio from the Timeline excluding changes made Ignore Audio Rubber Bands using the rubber-band controls for audio fading and audio panning in the Timeline.
Page 74: Saving And Autosaving A Project
Archived ﬁles are saved in the Project-Archives folder inside the Adobe Premiere 5.0 folder. For information about other ways of returning to earlier versions of a project, see “Correcting mistakes” on page 73.
Page 75 ADOBE PREMIERE 5.0 User Guide To save a project: Do one of the following: Choose File > Save. If necessary, specify a location and ﬁlename, and click OK. • To save a copy of a project under a new name or location and continue working in the new •...
Page 76: Opening A Project
CHAPTER 2 Working with Projects Opening a project You can open one project at a time. Premiere recognizes Premiere project ﬁles created using versions 4.2 to 5.0 on Windows or Mac OS. You can also open many kinds of clips created on other computer platforms;...
Page 77: Removing Unused Frames From Source Clips
Project trimming is especially useful before archiving a completed project. When you trim a project, Adobe Premiere ﬁrst creates a copy of the project. In the new project, each clip’s original In and Out points become the new beginning and ending of the clip, respectively.
Page 78: Using A Premiere Project On Another Platform
Premiere project ﬁles are designed to be usable across computer platforms. You can open and work with a Premiere project on any other platform on which Premiere 5.0 is available. Transferring a Premiere project to another platform is similar to moving a Premiere project to another computer: You must move not only the project ﬁle, but all of the source clips used...
Page 79: Setting Up Premiere's Scratch Disks
(.CVL), and Level ﬁlter settings (.LVL). If you have trouble opening a project ﬁle from another platform by double-clicking, try using the File > Open command from within Premiere 5.0. Setting up Premiere’s scratch disks When you edit a project, Premiere processes your changes in RAM. When the available RAM isn’t enough, Premiere can use hard disk space as an additional work area.
Page 80 CHAPTER 2 Working with Projects Store Premiere and the operating system on one hard disk, and capture video to an additional • AV-certiﬁed hard disk on which nothing else is stored. To enhance performance further, specify an additional, separate AV hard disk for video •...
Page 81: Correcting Mistakes
ADOBE PREMIERE 5.0 User Guide Correcting mistakes If you change your mind or make a mistake, Premiere 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 a window.
Page 82: Working With Windows In Premiere
Changes you make appear in the Program view. For a tour of these windows, see Chapter 1, “A Tour of Adobe Premiere.” For more infor- mation about using and customizing the Monitor and Timeline windows, see Chapter 4, “Editing Video.”...
Page 83 ADOBE PREMIERE 5.0 User Guide To set up a window layout that resembles earlier versions of Premiere: Choose File > Preferences > General/Still Image, select Open Movies in Clip Window, and click OK. This opens each source clip in its own window instead of in the Monitor window source view.
Page 84: Saving Window Positions (Mac Os Only)
131. Saving window positions (Mac OS only) Adobe Premiere lets you save your favorite window layouts and apply them to any project. In this way, different editors working on the same computer can each use a preferred layout without manually rearranging windows and palettes.
Page 85: Organizing Clips Using Bins
ADOBE PREMIERE 5.0 User Guide To manage other window layouts: Choose Window > Arrange > Layouts. Do one of the following: To preview a layout, select the name of a layout. • To switch layouts, select the name of a layout and click OK.
Page 86: Storing Clips And Bins In Libraries
CHAPTER 2 Working with Projects To view the contents of a bin, double-click the bin. If the bin window you want is open but • hidden, choose the name of the bin from the Window menu, or from the menu at the bottom of the Timeline.
Page 87: Customizing A Project, Bin, Or Library Window Display
ADOBE PREMIERE 5.0 User Guide To add clips or bins to a library: Activate a Library window and do one of the following: Drag a clip or bin from another Project, Bin, or Library window to the Library window. •...
Page 88 CHAPTER 2 Working with Projects To change a Project, Bin, or Library window view: Click the Icon View, Thumbnail View, or List View button at the bottom of the window. To sort items in the Thumbnail or List views: Do one of the following: Click the column heading by which you want to sort the items.
Page 89 ADOBE PREMIERE 5.0 User Guide To rearrange a Project, Bin, or Library window in the Icon View when icons obscure other icons: With the Icon View active, choose Project > Clean Up. The following ﬁelds are available in the List view: By default, displays the clip name on disk.
Page 90: Naming, Finding, And Deleting Items
CHAPTER 2 Working with Projects Naming, ﬁnding, and deleting items Premiere helps you manage the clips and other items in your project by giving you tools to rename, ﬁnd, and delete items. To manage project items: Do any of the following: To rename a clip or bin, select the item, choose Clip >...
Page 91: Printing Window Contents
ADOBE PREMIERE 5.0 User Guide Printing window contents You can print the contents of the Project window, Timeline, or Clip windows for use in a storyboard or to document your project. You can also print the Movie Analysis and Data Rate Graph windows.
Page 92: Changing The Startup Window
Open Dialog opens the Open dialog box when you start Premiere. • Working with palettes Adobe Premiere includes several palettes that display information and let you modify clips. You can display, hide, or recombine palettes as you work. Changing the palette display You can change the arrangement and display of palettes and palette groups to make the best use of space on your monitor.
Page 93 ADOBE PREMIERE 5.0 User Guide To move a palette to another group: Drag a palette tab to that group. To dock a palette to another palette group: Drag a palette tab to the bottom of another palette until the bottom of the destination palette is highlighted.
Page 94 CHAPTER 2 Working with Projects To separate a palette from other palettes to which it is grouped or docked: Drag a palette tab away from the other palettes. If you have more than one monitor connected to your system and your operating system supports a multiple-monitor desktop, you can drag palettes to any monitor.
Page 95 ADOBE PREMIERE 5.0 User Guide Using the Navigator palette The Navigator palette lets you quickly change your view of the Timeline by dragging a view box within a miniature representation of the Timeline. You can also change the level of detail displayed in the Timeline view.
Page 96 CHAPTER 2 Working with Projects To add a command to the palette: If the Commands palette is not visible, click its tab or choose Window > Show Commands. Choose Edit Command Set from the palette menu. Click Add. A new, unassigned button labeled “None” (Windows) or “Undeﬁned” (Mac OS) appears above the selected command.
Page 99: Preparing And Importing Source Clips
ADOBE PREMIERE 5.0 User Guide Chapter 3: Preparing and Importing Source Clips ou can import clips from any source—videotapes, motion-picture ﬁlm, audio, still images—as long as they exist as digital ﬁles stored on disk. The topics in this section describe how to import clips and describe requirements for converting other media types before they can be used digitally in your project.
Page 100: Capturing Video For Ofﬂine And Online Editing
CHAPTER 3 Preparing and Importing Source Clips Capturing video for ofﬂine and online editing Depending on the level of quality you require and the capabilities of your equipment, you can use Premiere for either online or ofﬂine editing. The settings you specify for capture are affected by whether you will edit the program ofﬂine or online.
Page 101: Preparing For Video Capture
ADOBE PREMIERE 5.0 User Guide When you digitize video for ofﬂine editing, you specify settings that emphasize editing speed over picture quality. In most cases you need only enough quality to identify the correct beginning and ending frames for each scene. See “Preparing for video capture” on page 93 and “Creating a batch list to redigitize project clips”...
Page 102 CHAPTER 3 Preparing and Importing Source Clips Most of the settings that control how a clip is captured from a camera or a deck are found in the Capture Settings section of the Project Settings dialog box. Capture Settings for QuickTime capture. Settings vary depending on the selected Capture Format.
Page 103 ADOBE PREMIERE 5.0 User Guide Select the ﬁle format for your video program. Changing the Capture Format Capture Format changes the options available in the Capture Settings dialog box and changes options in the dialog boxes that appear when you click the Video, Audio, and Advanced buttons.
Page 104: Capturing Video Without Device Control
CHAPTER 3 Preparing and Importing Source Clips Preroll Time When capturing with device control, specify how far before the In point Premiere winds the tape before capture. The appropriate value varies depending on the kind of deck or camera you are using; see the documentation for your deck or camera. When capturing with device control, enter the number of quarter frames to Timecode Offset adjust the timecode stamped on the captured video so that it corresponds to the correct frame...
Page 105: Capturing Video With Device Control
ADOBE PREMIERE 5.0 User Guide When you see the point where you want to stop recording, wait a few seconds to provide room for editing, and then click the mouse to stop recording. The captured clip appears in a Clip window and exists as an unsaved temporary ﬁle in the capture disk you speciﬁed.
Page 106 CHAPTER 3 Preparing and Importing Source Clips Use the following procedures to conﬁgure Premiere to recognize the device, set capturing • options, and capture the video. Note: The capabilities of device control vary depending on the brand and model of playback device you are controlling.
Page 107: Batch-Capturing Video
ADOBE PREMIERE 5.0 User Guide Batch-capturing video If you have the proper setup for device control and have a videotape recorded with timecode, you can set up Premiere for automatic, unattended capture of several clips from the same tape. This is called batch capturing. You log, or create a list of, the segments you want to capture from the tape.
Page 108 CHAPTER 3 Preparing and Importing Source Clips Logging clips into a batch list You specify which scenes you want to use from the source tapes by logging scenes—entering the beginning and ending times—into a batch list. If your computer is connected to a video deck that supports device control through Premiere, you can create a batch list of clips automatically by using the clip-logging controls in Premiere, and then use Premiere to capture all the clips in the list automatically.
Page 109 ADOBE PREMIERE 5.0 User Guide Click Reel, and type the reel name. (You may be asked to specify the Reel Name each time you insert a new tape, depending on the device control software and the video deck.) Use the controls in the Movie Capture dialog box to move to the place in the videotape where you want to start capturing the clip, and click In.
Page 110 CHAPTER 3 Preparing and Importing Source Clips Click OK, and then choose File > Save. Repeat steps 3 and 4 for each of the entries in your timecode log. You can view more than one open Batch Capture window simultaneously. Just choose File >...
Page 111 ADOBE PREMIERE 5.0 User Guide To import a batch list timecode log: Activate the Batch Capture window you want to receive the list. Choose Batch Capture > Import from Text File. Locate and select the ﬁle, and click Open. After you’ve logged a tape with comments, you can save the batch list to a disk and store the disk with the videotape.
Page 112 CHAPTER 3 Preparing and Importing Source Clips Capturing video from a batch list When you ﬁnish building the batch list, you are ready to capture the video. When capturing a batch list, Premiere applies the current settings for recording, compression, video input, and audio input unless you attached a speciﬁc capture settings ﬁle to one or more entries.
Page 113: Reading Timecode From Source Video
ADOBE PREMIERE 5.0 User Guide To prepare a batch list for automatic redigitizing: With a project open, choose File > Utilities > Project Trimmer. Select Create Trimmed Batch List, and deselect Copy Trimmed Source Files. For Keep _ Frame Handles, type the number of frames you want to capture before the In point and after the Out point of each clip.
Page 114 CHAPTER 3 Preparing and Importing Source Clips Timecode is essential if you plan to create an edit decision list and create the ﬁnal video program on a high-end online edit bay instead of in Premiere. Using SMPTE timecode ensures frame accuracy. See “Understanding timecode and time display options” on page 339.
Page 115 ADOBE PREMIERE 5.0 User Guide If you plan to capture an entire tape, only the In point of the movie needs to be recognized • during capture. Once the In point is recorded, a frame-accurate tape deck will capture all of the following frames accurately.
Page 116 CHAPTER 3 Preparing and Importing Source Clips Choose Clip > Timecode, specify the following options, and click OK: For the ﬁrst option, type the timecode that matches the frame visible in the clip. • For Frame Rate and Format, choose options from the menu that match the videotape. •...
Page 117 ADOBE PREMIERE 5.0 User Guide Click Freeze Video. This retains the frame you were viewing in Premiere but does not stop the deck. Adjust the rectangle in the frame so that it encloses the window dub. Positioning the rectangle around the window dub Adjust the Contrast slider until Premiere can read all the digits in the window dub.
Page 118 CHAPTER 3 Preparing and Importing Source Clips Click OK. Choose Project > Settings > Capture, select Decode Burned-in Timecode, and click OK. When you capture the clip, Premiere will read the burned-in timecode and apply it to the clip. Calibrating timecode When capturing SMPTE timecode with a controllable device, make sure that your system records timecode accurately.
Page 119: Capturing Stop-Motion Animation
ADOBE PREMIERE 5.0 User Guide To correct miscalibrated timecode: Note the difference between the timecode readout at the bottom of the Movie Capture window and the window dub in the video frame. If you do not have a video source with burned-in timecode, you must compare captured frames with frames from the video tape.
Page 120 CHAPTER 3 Preparing and Importing Source Clips To capture stop-motion animation: Choose File > Capture > Stop Motion. (If the command is dimmed, your video-capture card or hardware does not support stop-motion.) Choose Stop Motion > Capture Options (Windows) or Stop Motion > Recording Options (Mac OS).
Page 121 ADOBE PREMIERE 5.0 User Guide Do one of the following, depending on your platform: In Windows, type the horizontal and vertical dimensions of the frames to capture in the • Size _ x _ box. Select Constrain to adjust the values to the aspect ratio used by your capture hardware.
Page 122 CHAPTER 3 Preparing and Importing Source Clips Click OK. Start your camera, tape deck, or other video source, and in the Stop Motion window click Start. Do one of the following: If you previously selected Manual Capture (Windows) or Manual Recording (Mac OS), •...
Page 123: Capturing Analog Audio
ADOBE PREMIERE 5.0 User Guide Capturing analog audio If you want to use audio that is not yet in digital form, you will need to capture it. With the proper audio or video-capture card, Premiere can capture audio that is synchronized with its source video or that is independent of it.
Page 124 CHAPTER 3 Preparing and Importing Source Clips To set the location of a ﬁle captured from an audio-only source: Choose File > Preferences > Scratch Disks. For Temp/Captured Movies in the Device section, select a location. Then click OK. To capture an audio source (Windows): Choose File >...
Page 125: Capturing Digital Video
ADOBE PREMIERE 5.0 User Guide For Format do the following: Select a bit depth from the left menu. 8-bit sound is sufﬁcient for voice and medium-quality • music; compact-disc audio is stored at 16 bits. Stereo audio requires twice as much disk space and processing as mono audio.
Page 126 CHAPTER 3 Preparing and Importing Source Clips capturing digital video is similar to capturing analog video. You can help prevent dropped frames by using an AV-certiﬁed hard disk capable of sustaining the 3.6-MB-per-second data rate of digital video. Depending on the equipment you use, you may be able to use device control to import DV clips directly from a camera or deck.
Page 127: Importing Digital Audio
ADOBE PREMIERE 5.0 User Guide Importing digital audio Premiere can import digital audio clips stored as audio ﬁles or tracks in video ﬁles. Digital audio is stored as binary data readable by computers. Most digital audio is stored on computer hard disks, audio compact discs (CDs), or digital audio tape (DAT).
Page 128: Importing Clips
Macintosh Sound Format and Sound Designer I & II ﬁle formats. Premiere also imports still-image and animation ﬁle formats; see “Importing still images” on page 121, “Importing Adobe Illustrator ﬁles” on page 123, “Importing Adobe Photoshop ﬁles” on page 123, and “Importing an animation or still-image sequence” on page 124.
Page 129 User Guide File format support is provided by plug-in software modules. Over time, additional, new, or updated ﬁle formats may be available from Adobe or other manufacturers. To import one or more clips into the Project window: To import a single clip, choose File > Import > File. Locate and select the ﬁle, and then •...
Page 130 CHAPTER 3 Preparing and Importing Source Clips Premiere can import the Adobe Illustrator (.AI), Adobe Photoshop (.PSD), Graphics Inter- change Format (.GIF), Joint Photographics Experts Group (JPEG)(.JPG), Macintosh Picture (PICT), Storyboard Image, Targa (.TGA), and Tag Image File Format (TIFF) ﬁle formats.
Page 131 User Guide Importing Adobe Illustrator ﬁles You can import an Adobe Illustrator still-image ﬁle directly into a Premiere project. Premiere converts path-based Illustrator art into the pixel-based image format used by Premiere, a process known as rasterization. Premiere automatically anti-aliases, or smooths, edges of the Illustrator art.
Page 132 Some programs can generate a series of numbered sequence of still images, such as Adobe After Effects and Adobe Dimensions.® Images in a still-image sequence cannot include layers, so ﬂatten images that will be part of a sequence. For information on layers and ﬂattening, see the documentation for the application that created the ﬁle.
Page 133: Importing Another Project
ADOBE PREMIERE 5.0 User Guide Importing another project You can add the contents of an existing project to an open project. For example, you can break up a large project into smaller, more manageable pieces in separate projects, and then import each project into a main project to create the ﬁnal video program. When you import a project into an open project, the imported project’s clips are added to the Project...
Page 134: Using Ofﬂine Files
CHAPTER 3 Preparing and Importing Source Clips Using ofﬂine ﬁles Premiere automatically creates an ofﬂine ﬁle, or placeholder, for any source ﬁle used in the project that it cannot locate when you open a project. You can also create an ofﬂine ﬁle at any time.
Page 135: Creating A Counting Leader
ADOBE PREMIERE 5.0 User Guide Creating a counting leader You can create and customize a universal counting leader to add to the beginning of a project. A counting leader helps a projectionist verify that audio and video are working properly and are synchronized.
Page 136 CHAPTER 3 Preparing and Importing Source Clips The Properties feature provides detailed information about any clip. For video ﬁles, analyzed properties can include the ﬁle size, number of video and audio tracks, duration, average frame, audio and data rates, and compression settings. You can also use Properties to alert you to the presence of any dropped frames in a clip you just captured.
Page 139: Editing Video
ADOBE PREMIERE 5.0 User Guide Chapter 4: Editing Video he concept of video editing is simple: You arrange a set of video clips in the desired order. In reality, editing a video program can require many iterations as you reﬁne the editing decisions that make all your clips ﬂow together smoothly.
Page 140 CHAPTER 4 Editing Video Displaying a clip You can display a clip either in the Source view (left side) of the Monitor window or in a Clip window. If you want to compare several clips you can open a window for each. To view a clip: Do any of the following: To view a clip in the Source view, double-click the clip in a Project, Bin, Library,...
Page 141 ADOBE PREMIERE 5.0 User Guide To change the Source view time display, click the triangle below the Monitor window title bar, • and choose Monitor Window Options from the Monitor window menu. In Source Options, select a Count from the menu. Select Zero Based if you want to start the clip’s timecode at zero instead of using the timecode of the clip’s ﬁrst frame.
Page 142 CHAPTER 4 Editing Video Using Monitor window controllers The Monitor window contains similar controllers for the Source and Program views. You use a controller to view and ﬁnd frames in a clip or video program. Many of the controls work like the tape transport controls on a video deck.
Page 143 ADOBE PREMIERE 5.0 User Guide In the Monitor window, you can cycle through time display options by pressing Control (Windows) or Command (Mac OS) as you click a timecode readout. The time display options cycle in the order they appear in the Count menu (available when you choose Window >...
Page 144 CHAPTER 4 Editing Video To play in reverse, press Ctrl+Alt+~ (tilde) (Windows) or Command+Option+~ (tilde) • (Mac OS). To play faster, press ~ (tilde). Pressing the key repeatedly increases speed further. • To play including preroll and postroll, press Alt (Windows) or Option (Mac OS) as you •...
Page 145 ADOBE PREMIERE 5.0 User Guide The Monitor window controllers also include a jog tread and a shuttle slider. The shuttle slider is slightly easier to understand—the slider marks the position of a frame relative to the beginning and end of the clip (in the Source view) or Timeline (in the Program view).
Page 146: Using The Timeline Window
CHAPTER 4 Editing Video Using the Timeline window The Timeline is a time-based view of your program where you can select, arrange, and modify the instances of the source clips you’ve used in the video program. The Timeline graphically shows the placement of each clip in time, its duration, and its relationship to the other clips in the program.
Page 147 ADOBE PREMIERE 5.0 User Guide To display the Timeline in more detail: Do one of the following: Select the zoom tool ( ) and then click on, or drag a rectangle around, the part of the • Timeline you want to see in more detail.
Page 148 CHAPTER 4 Editing Video To customize the Timeline window: Click the triangle below the Timeline window title bar ( ), and choose Timeline Window Options from the Timeline window menu. In the Icon Size section, select the size of the preview icon you want in the Timeline. If you expect to use many tracks or work on a small monitor, a small icon size can display more tracks.
Page 149 ADOBE PREMIERE 5.0 User Guide Select Show Markers to display clip and Timeline markers. Deselect this option if the • Timeline contains many markers, and you want to view the Timeline with less clutter. See “Using markers” on page 153.
Page 150 CHAPTER 4 Editing Video To change the proportions of video and audio tracks displayed in the Timeline: Drag the split-window bar at the right side of the Timeline. To collapse or expand a track: Click the triangle next to the track name. When you collapse track Video 1, it displays the results of the A, B, and transition subtracks together.
Page 151 ADOBE PREMIERE 5.0 User Guide Hiding tracks You can mark a track as shy, which means it can be hidden in the Timeline. Marking a track as shy may not immediately conceal it in the Timeline, because you must choose the Hide Shy Tracks command to conceal or reveal all shy tracks simultaneously.
Page 152 CHAPTER 4 Editing Video To exclude or include a track from previews and exported video: Click to hide or display the eye icon (for video) or speaker icon (for audio) at the left edge of a track. An excluded track still appears in the Timeline, but is not included in exported video nor when previewing or scrubbing the Timeline.
Page 153 ADOBE PREMIERE 5.0 User Guide Specifying source and target tracks When you add clips to the Timeline by dragging, the clip is added to the track and time position where you drop it. However, when you add clips to the Timeline using Monitor window controls or by using the keyboard, Premiere cannot assume exactly how and where you want a clip to be added.
Page 154 CHAPTER 4 Editing Video Exactly how clips are added to the Timeline depends not just on the interaction of Take icons and target tracks but also on the current states of other track and clip options. Certain combi- nations of these factors may cause unintended tracks to shift in time; see “Tracks shift out of sync”...
Page 155 ADOBE PREMIERE 5.0 User Guide To include only source video, make sure that the Take Video icon ( ) below the Source view • is not crossed out (if it is, click the icon to enable it). Choose a target video track from the ﬁrst (video) Target menu below the Program view, and then make sure None is selected in the second (audio) Target menu.
Page 156: Editing In And Out Points
CHAPTER 4 Editing Video To lock or unlock a track: Click to display or hide the pencil icon ( ) next to the track name. Editing In and Out points Most clips are captured with extra footage at the beginning and end to allow for more precise editing later.
Page 157 ADOBE PREMIERE 5.0 User Guide To mark or remove In and Out points using the Source or Program view: Do one of the following: To edit In and Out points for a source clip, open a clip from a Project, Bin, or Library window.
Page 158 CHAPTER 4 Editing Video To edit the Out point, drag the right edge of the clip. • To ﬁnd a clip’s In or Out point: Do one of the following: For a clip’s source In or Out point, open the clip and activate the Source or Clip window. •...
Page 159 ADOBE PREMIERE 5.0 User Guide Setting an audio source In point between timebase divisions You can set the source In point of an audio clip to the precision of the individual frames or audio samples in a clip. For example, when editing a motion picture for ﬁlm, you might want an audio clip of a ﬁnger snap to start playing the instant that sound is heard, but you...
Page 160: Using Named Subclips And Unnamed Instances Of Clips
CHAPTER 4 Editing Video Using named subclips and unnamed instances of clips You can use a clip multiple times in the Timeline. The original source clip is called a master clip, and each time you add the same master clip to the Timeline, you create a new instance of that master clip.
Page 161: Using Markers
ADOBE PREMIERE 5.0 User Guide Name the subclip and then choose a Location. If you have any Bin or Library windows open, they will also appear in the Location menu along with the Project window. Click OK. Premiere stores the new reference to the master clip in the window you speciﬁed.
Page 162 CHAPTER 4 Editing Video To add a marker: Do one of the following: To add a marker to a clip, open it in the Source view or the Clip window, or select a clip • in the Timeline. To add a marker to a clip in the Timeline, select the clip or double-click the clip to open it. •...
Page 163 ADOBE PREMIERE 5.0 User Guide To go to a marker: Activate the window where you want to go to a marker. Do one of the following: To go to a numbered marker, choose Clip > Go To Marker > marker x.
Page 164: Editing Clips
CHAPTER 4 Editing Video To delete all markers: Do one of the following: To delete a marker from a clip, open it in the Source view or the Clip window. • To delete a marker from the Timeline but not from clips in the Timeline, activate the Program •...
Page 165 ADOBE PREMIERE 5.0 User Guide In the sample image with the motion path, drag the ﬁrst (red) motion point to position the scaled clip in the frame. Write down the coordinates in the Info option and the percentage in the Zoom option.
Page 166 CHAPTER 4 Editing Video The speed of a clip is the playback rate of the action or audio compared to the rate at which it was recorded. Speed is initially the same as it was when the clip was imported or captured. Changing a clip’s speed alters its source frame rate and may cause some frames to be omitted or repeated (see “Understanding frame rates in relation to the timebase”...
Page 167 ADOBE PREMIERE 5.0 User Guide To change the speed of a clip in the Timeline only: Select a clip, and do one of the following: To change speed numerically, choose Clip > Speed. Type a percentage or new duration •...
Page 168 CHAPTER 4 Editing Video Changing the frame rate of a clip You can change the number of frames displayed per second for a clip by specifying its frame rate. Changing the frame rate does not change the speed of action unless you use the Interpret Footage command, which changes both the frame rate and the speed of action.
Page 169 ADOBE PREMIERE 5.0 User Guide The actual frame rate of a clip during playback or export depends on a complex relationship between the source clip frame rate, the project timebase, the frame rate you speciﬁed for playback or exporting, and any modiﬁcations you make using the procedures in this section.
Page 170 CHAPTER 4 Editing Video Processing interlaced video ﬁelds In some video sources, such as NTSC, PAL, or SECAM, each video frame consists of two interlaced ﬁelds (see “Comparing interlaced and non-interlaced video” on page 341). One ﬁeld contains the odd-numbered lines in the frame, and the other ﬁeld contains the even- numbered lines.
Page 171 ADOBE PREMIERE 5.0 User Guide Click one of the following Processing Options: Select None if you don’t want to process source clip ﬁelds. • Select Interlace Consecutive Frames to convert pairs of progressive-scan (non-interlaced) • frames into interlaced ﬁelds. This option is useful for converting 60 fps progressive-scan animations into 30 fps interlaced video, because many animation applications don’t create...
Page 172 CHAPTER 4 Editing Video Maintaining the original aspect ratio of a clip A project can contain clips that have varying aspect ratios (proportions of height to width). The aspect ratio of a project is determined by the frame size you specify in the Project Settings or Export Settings dialog boxes.
Page 173 ADOBE PREMIERE 5.0 User Guide To enable or disable a clip: Select a clip in the Timeline, and choose Clip > Enabled. A check mark next to the Enabled command indicates the selected clip is enabled. A disabled clip is marked by a hatch pattern of back slashes.
Page 174 CHAPTER 4 Editing Video To view the source of a program clip: Select the clip in the Timeline and do one of the following: Choose Clip > Locate Clip to highlight the source in the window that stores it. • Choose Clip >...
Page 175: Editing A Video Program
ADOBE PREMIERE 5.0 User Guide Specify the following options as necessary and then click OK: If one or more ﬁlters with keyframes are applied to the clip and you want to prevent clip • settings from changing during the duration of the clip, select Hold Filters.
Page 176 CHAPTER 4 Editing Video For keyboard shortcuts not listed in menus or Tool Tips, see the Quick Reference Card. • Keyboard shortcuts are also listed in online Help. Adding a clip to the Timeline A clip in your project is not actually part of the ﬁnal video program until you add it to the Timeline.
Page 177 ADOBE PREMIERE 5.0 User Guide Drag the clip from the Source view to an unused duration in the desired Timeline video or audio track. If you drag a clip that contains both video and audio and both Take icons are enabled (see “Specifying source and target tracks”...
Page 178 CHAPTER 4 Editing Video To add a source clip using Monitor window controls: Set up the Take Video and Take Audio icons and the target program tracks (see “Specifying source and target tracks” on page 145). Mark the In and Out points of the source clip (see “Marking and ﬁnding In and Out points” on page 148).
Page 179 ADOBE PREMIERE 5.0 User Guide For information about editing clips in the program, see “Editing a clip that exists between other Timeline clips” on page 176. Note: By default, the Insert and Overlay buttons add a clip to the Timeline at the edit line. You can override this and specify the intended location of your clip by setting a program In point, a program Out point, or both.
Page 180 CHAPTER 4 Editing Video In a four-point edit, you mark source In and Out points and program In and Out points. A four- point edit is useful when the starting and ending frame in both the source and program are critical.
Page 181 ADOBE PREMIERE 5.0 User Guide Selecting clips When you want to perform an action that affects a clip as a whole, such as applying a ﬁlter, deleting a clip, or moving a clip in time, you must ﬁrst select the clip in the Timeline. The toolbox contains selection tools that can handle various selection tasks.
Page 182 CHAPTER 4 Editing Video To select all whole or partial clips that exist on and after a certain time on one track, select the • track select tool ( ) and click the clip at the beginning of the time span you want to select. Press Shift as you click to select clips on additional tracks To select all whole or partial clips that exist on and after a certain time, select the multitrack •...
Page 183 ADOBE PREMIERE 5.0 User Guide To move a clip earlier or later in the program: Drag the clip to the left or right, position the clip by watching the In point and Out point indicator lines (if you stay on the same track) or the black rectangle that represents the clip duration (if you drag to a different track), and then release the mouse button.
Page 184 CHAPTER 4 Editing Video Editing a clip that exists between other Timeline clips Before you edit a clip in the Timeline, decide how you want to affect adjacent clips and the duration of the entire program. For example, when you make a clip shorter by moving its Out point to an earlier time, do you want all the following clips to stay in place or to ﬁll the gap left by the clip you’re adjusting? You can perform edits that let you specify exactly what happens to clips adjacent to the clip you want to adjust, making it easier to edit right the...
Page 185 ADOBE PREMIERE 5.0 User Guide A ripple edit maintains the durations of all other clips by changing the program duration. • You drag the edit line, and the overall program duration is lengthened or shortened by the number of frames you added to or subtracted from the clip to the left of the edit line.
Page 186 CHAPTER 4 Editing Video A slide edit preserves the duration of a clip and the program duration by changing the In • and Out points of the preceding and following clips. As you drag a clip left or right, the Out point of the preceding clip, the In point of the following clip, and the clip’s program In and Out points are moved by the number of frames you moved the clip.
Page 187 ADOBE PREMIERE 5.0 User Guide To perform a rolling edit: Select the rolling edit tool ( Position the rolling edit tool on the edge of the clip you want to change, and drag left or right. The same number of frames added to the clip are trimmed from the adjacent clip.
Page 188 CHAPTER 4 Editing Video To perform a slip edit: Select the slip tool ( Position the pointer on the video clip you want to adjust, and do one of the following: Drag left to move the source In and Out points earlier in the clip. •...
Page 189 ADOBE PREMIERE 5.0 User Guide When you release the mouse button, Premiere updates the In and Out points for the adjacent clips, displaying the result in the Monitor window and maintaining the clip and program duration. The only change to the clip you moved is its position in the Timeline.
Page 190 CHAPTER 4 Editing Video To split multiple tracks at the same point in the Timeline: Select the multi-razor tool ( ) and click a clip in the Timeline where you want to split it. Premiere splits all unlocked clips on any unlocked track at that time point into two independent instances in the program.
Page 191 ADOBE PREMIERE 5.0 User Guide Select an option from the menu. An animated representation of the option appears in the Content section to help you determine if the selected option is appropriate. Click Paste. To transfer clip settings to another clip: Select a clip to which ﬁlters, fade control, transparency, or motion has been applied...
Page 192 CHAPTER 4 Editing Video These methods are most useful when you want to remove frames from the middle of a clip or across multiple clips on the same track. If you just want to remove frames from one end of a clip, simply trim the end of the clip (see “Editing a clip that exists between other Timeline clips”...
Page 193 ADOBE PREMIERE 5.0 User Guide Linking video and audio clips in the Timeline When you add a clip containing video and audio to the program, and you’ve speciﬁed adding both the video and audio portions (see “Specifying source and target tracks” on page 145), the video portion appears in a video track and the audio portion appears in an audio track.
Page 194 CHAPTER 4 Editing Video Using the Trim view The Monitor window Trim view is a precise way to trim clips interactively. You can perform ripple or rolling edits at any edit along the Timeline. As you make adjustments, you see the frames on both sides of the edit.
Page 195 ADOBE PREMIERE 5.0 User Guide Do any combination of the following: To remove one frame from the left clip when it is active, or add one frame to the clip on the • right when it is active, click the left-facing single-frame trim button ( ). To edit ﬁve frames, click the Trim Left 5 Frames button ( ).
Page 196 CHAPTER 4 Editing Video To add one frame to the clip and remove one frame from the clip on the right, click the • right-facing single-frame trim button ( ).To edit ﬁve frames, click the Trim Right 5 Frames button ( ). Note: You can set the number of frames edited by the Trim Left 5 Frames or Trim Right Five Frames buttons (see page 188).
Page 197 ADOBE PREMIERE 5.0 User Guide Click the second option to display the tail of the left clip with small representations of the • frames before and after the tail, and the head of the right clip with small representations of the frames before and after the head.
Page 198 CHAPTER 4 Editing Video Update identical scattered sequences all at once. For example, if you create the virtual clip • described above and use the virtual clip in your video program ten times, you can simulta- neously update all ten instances of the virtual clip just by editing the clips in the area of the Timeline that deﬁnes the virtual clip.
Page 199 ADOBE PREMIERE 5.0 User Guide Because the clips in a virtual clip must be on the Timeline but outside of the main video • program, it’s a good idea to create virtual clips in an area you set aside before the main program starts in the Timeline.
Page 200: Previewing A Video Program
CHAPTER 4 Editing Video Drag the selected block to any other available location in the Timeline. As you drag, the virtual clip is represented by a black rectangle identical to the one you see when you drag a source clip. To locate the original frames that make up a virtual clip: Do one of the following: In the Timeline, double-click the virtual clip.
Page 201 ADOBE PREMIERE 5.0 User Guide The appearance of a preview is controlled by the settings in the Video Settings panel of the Project Settings dialog box (see “Specifying project settings” on page 58). To set the area to be previewed (the work area): Do any of the following: Drag the work area bar over the section you want to preview.
Page 202 CHAPTER 4 Editing Video Press Alt (Windows) or Option (Mac OS) as you click in the work area band above the • series of clips you want to preview. This sets the work area to preview a continuous series of clips. The work area stops at the ﬁrst gap detected between clips to the left and right of where you click.
Page 203 ADOBE PREMIERE 5.0 User Guide Previewing an edit by synchronizing controllers There may be times when you want the Source and Program views to move together. This is called ganging the monitors, and it lets you preview how a clip ﬁts into the video program without having to actually add the clip to the program.
Page 204 CHAPTER 4 Editing Video You can separate the Monitor view from the Monitor window controllers for additional ﬂexi- bility in arranging your Premiere work area. Premiere lets you move the Monitor view to another monitor while keeping the controllers with the other windows and palettes in Premiere.
Page 205 ADOBE PREMIERE 5.0 User Guide Drag the Monitor View to another monitor. If you want, you can resize the Monitor View window to ﬁll the screen. Press Control (Windows) or Command (Mac OS) and click the Source or Program window to automatically send the Monitor view to a television monitor, if one is connected to and supported by your system.
Page 206 CHAPTER 4 Editing Video Playing back full-screen video The Print to Video command plays a clip or the Timeline centered on a computer or television monitor. If the clip or Timeline is smaller than the full screen, it plays alone on a black background.
Page 207 ADOBE PREMIERE 5.0 User Guide If the frame size speciﬁed in Video Settings is less than about half the size of the display screen, the resulting picture may appear coarse or with obvious pixels; however, this effect may be less noticeable after recording on videotape.
Page 211: Adding Transitions
ADOBE PREMIERE 5.0 User Guide Chapter 5: Adding Transitions he visual change from one clip to another is called a transition. To add nuance, texture, or special effects between video clips, Premiere provides a variety of transitions, such as wipes, zooms, and dissolves. You can also create your own transitions.
Page 212: Using The Transitions Palette
“Changing transition settings” on page 210. You can also save and load a custom list of transitions to share with other Adobe Premiere users or for use on different projects. To display the Transitions palette: Choose Window >...
Page 213: Creating Transitions
ADOBE PREMIERE 5.0 User Guide Choose Save Transitions from the palette menu. Specify a name and location for the file in which the transition information is stored, and click Save. On Windows, the ﬁlename must use the .PFX extension. To load a set of transitions: Choose Load Transitions from the Transitions palette menu.
Page 214 CHAPTER 5 Adding Transitions Working with the expanded Video 1 track When the Video 1 track is expanded, you can easily add and adjust transitions between two overlapping clips. Because a transition somewhat obscures the overlapping area of the two clips, you should make sure that this area does not include elements essential to your video program.
Page 215 ADOBE PREMIERE 5.0 User Guide To lengthen or shorten the transition, make sure the pointer tool is selected and then drag the left or right edge of the transition. To reposition the transition between the clips, drag the transition itself.
Page 216 CHAPTER 5 Adding Transitions Drag a transition from the Transitions palette onto the meeting point of the two clips. The overlapping area will be highlighted as the pointer moves over the meeting point. A transition dragged into a collapsed track overlaps the extra frames created by extended In and Out points Note: If you expand the Video 1 track after adding a transition to the collapsed track, the Video 1A and Video 1B tracks now display the overlapping frames that you added when you extended the In...
Page 217 ADOBE PREMIERE 5.0 User Guide To specify a default transition. If necessary, choose Window > Show Transitions. Select the Transition you want to become the default. From the palette menu choose Set Selected As Default. Type the default duration for the transition. (You can later change the duration once the transition is added to the Timeline.)
Page 218: Changing Transition Settings
CHAPTER 5 Adding Transitions Changing transition settings You can change a number of settings for each transition, including the transition direction, the start and end values, the border, and anti-aliasing. The following procedure describes how to display the Transition Settings dialog box and change settings common to many transitions. Settings speciﬁc to transitions are available by clicking the Custom button in the Transition Settings dialog box.
Page 219 ADOBE PREMIERE 5.0 User Guide Adjust any of the following settings and then click OK: To see the starting and ending frames of the clips, select Show Actual Sources. • To change the initial and ﬁnal appearance of the transition, use the Start and End sliders.
Page 220 CHAPTER 5 Adding Transitions For example, the Barn Doors transition can be oriented vertically or horizontally. Some transitions do not have Edge selectors because the transition has only one orientation. To make the transition play forward or backward, click the Forward/Reverse selector in the •...
Page 221 Using the G radient Wipe transition Adobe Premiere can use any importable grayscale image as a gradient wipe. In a gradient wipe, image B ﬁlls the black area of the grayscale image and then shows through each level of gray as the transition progresses until the white area becomes transparent.
Page 222: Creating Custom Transitions
Result of Gradient Wipe transition on clip Creating Custom Transitions In addition to the many transitions included with Adobe Premiere, you can create your own custom transitions using the Transition Factory. You determine how you want the transition to affect the channels (alpha, red, green, and blue) of each pixel in the ﬁrst image and the second image by specifying arithmetic expressions.
Page 225: Mixing Audio
ADOBE PREMIERE 5.0 User Guide Chapter 6: Mixing Audio ou can use Premiere to edit, add effects to, and mix up to 99 tracks of audio in the Timeline. You can layer audio tracks and control gain and pan settings directly within the Timeline, performing functions that would otherwise require a conventional audio mixer.
Page 226: Adjusting Gain
CHAPTER 6 Mixing Audio Adjusting gain You can adjust the gain, or volume, of a single clip. This is useful for balancing the gain levels of several clips or when a clip’s audio signal is too high or too low. However, keep in mind that if the gain in an audio clip was set too low when it was digitized, increasing the gain may emphasize noise or introduce distortion.
Page 227 ADOBE PREMIERE 5.0 User Guide To fade audio at a speciﬁc point: If necessary, click the triangle to the left of the track name to expand the audio track you want to adjust. With the selection tool selected, position the pointer over a part of the red fader line where you want to create a new handle.
Page 228 CHAPTER 6 Mixing Audio To remove a fade handle: Drag a fade handle outside the audio track and release the mouse. To fade audio in one-percent increments: If necessary, click the triangle to the left of the track name to expand the audio track you want to adjust.
Page 229 ADOBE PREMIERE 5.0 User Guide To fade two handles simultaneously: If necessary, click the triangle to the left of the track name to expand the audio track you want to adjust. Select the fade adjustment tool. Position the fade adjustment tool between the two handles you want to adjust, and then drag that segment up or down.
Page 230 CHAPTER 6 Mixing Audio To create two adjacent fade handles: If the audio fader you want to adjust isn’t visible, click the triangle to the left of the track name to expand the audio track. Select the fade scissors tool. Click the fader where no handles exist.
Page 231 ADOBE PREMIERE 5.0 User Guide Click the clip you want to fade out. Click the clip you want to fade in. Premiere automatically creates and adjusts fade handles on both clips. Cross-fading tracks linked to video When audio tracks are linked to video tracks, cross-fading the audio tracks is more complex than an audio-only cross-fade.
Page 232 CHAPTER 6 Mixing Audio To cross-fade audio tracks linked to video: If necessary, click the triangle to the left of each track name to expand the audio tracks you want to adjust. Make sure each audio clip is on a different audio track. Press Control (Windows) or Command (Mac OS) as you drag the audio clip to a track where the audio can overlap the other audio track in time.
Page 233: Panning A Clip
ADOBE PREMIERE 5.0 User Guide Panning a clip You can pan an monophonic audio clip to set its position between the left and right stereo channels. For example, if an audio clip contains one person’s dialogue, you can pan the audio to match the person’s position in the frame.
Page 234 CHAPTER 6 Mixing Audio Position the pointer over the pan handle you want to adjust, so that the pointer changes into a pointing ﬁnger with blue arrows. Drag a pan handle up to pan left, or down to pan right. If the pan handle is very close to a red fade handle, it may be difﬁcult to select and drag, so press Alt/Option to drag only the pan handle.
Page 235: Viewing Audio Clips
ADOBE PREMIERE 5.0 User Guide Using a clip’s left or right stereo channel only The Take Left and Take Right commands let you replace the entire audio clip with its left or right channel only. For example, you can create a full, balanced audio clip from a clip originally recorded only in the left or right stereo channel.
Page 236: Applying Audio Filters
CHAPTER 6 Mixing Audio To always view an audio clip in its own window, choose Preferences > General, select • Open Movies in Clip Window, and click OK. To override the current window preference for viewing clips (described in the previous •...
Page 237: Audio Filters Included With Premiere
A ﬁlter is available to Premiere when its plug-in software ﬁle is present in the Plug-ins folder, which is stored in the Adobe Premiere 5.0 folder by default. If you purchased additional plug- in ﬁlters, purchased Premiere as part of a hardware package, or removed ﬁlter ﬁles from the...
Page 241: Creating Titles
ADOBE PREMIERE 5.0 User Guide Chapter 7: Creating Titles ou can create type and graphics in Premiere’s Title window. A title can include straight lines, shapes, and rolling credits. Once you create a title, you use it in your project just like any other source clip, by editing it into your video program using cuts and transi- tions, or superimposing it over other clips.
Page 242: Setting Up The Title Window
CHAPTER 7 Creating Titles Setting up the Title window The Title window provides ways to help position titles accurately. For example, if you plan to superimpose the title over a clip, you can import a frame from the clip for positioning. Importing a sample frame When you import a frame from a clip (or still image), the frame functions only as a positioning aid for title type and graphics and is not actually included in the title clip.
Page 243 ADOBE PREMIERE 5.0 User Guide Make sure a Title window is open, and then drag the frame into the Title window. To remove a sample frame: Select Title > Remove Background Clip. You can change the frame displayed in the Title window by setting a new marker 0 for the source clip.
Page 244 CHAPTER 7 Creating Titles Setting Title window options The Title window options let you specify the size of the title area, a background color, and safe zones. Safe zones are useful when editing for NTSC broadcast and videotape, because most NTSC consumer television sets cut off some portion of the outer edges of the picture. This process, called overscan, permits the center of the picture to be enlarged.
Page 245 ADOBE PREMIERE 5.0 User Guide For Background, click the rectangle to specify a background color (see “Using the • Color Picker” on page 253). If you want the background color to be visible in Premiere, select Opaque. Select Show Safe Titles to display NTSC title-safe and action-safe zones.
Page 246 CHAPTER 7 Creating Titles To select text and graphic tools: Do one of the following: To select a tool for one operation, click the tool in the toolbox (except the selection tool). • The toolbox highlights the tool in gray, and the tool reverts to the selection tool after one use. To select a tool for continual operation, double-click the tool in the toolbox.
Page 247 ADOBE PREMIERE 5.0 User Guide Use semibold and bold type weights, which are generally easier to read on television than • regular or light type weights. Use few words in your titles. Long paragraphs of small type are difﬁcult to read on television.
Page 248 CHAPTER 7 Creating Titles The new text uses the current color, transparency, and gradient settings. See “Using color, transparency, and gradients” on page 249. To edit existing type: Do one of the following: To change attributes uniformly within a text object, select the selection tool ( ) and click the •...
Page 249 Note: To rotate text freely, you can apply motion settings to the title after you add the title to the Timeline (see “Rotating, zooming, delaying, and distorting” on page 284), or prepare the title in another application such as Adobe After Effects.
Page 250: Creating Rolling And Crawling Text
CHAPTER 7 Creating Titles To change the orientation of text: With the selection tool ( ), click a text object. Choose Title > Orientation and select Horizontal or Vertical. Horizontal text (left) and vertical text (right) Creating rolling and crawling text You can make text roll (move vertically across the screen) or crawl (move horizontally).
Page 251 ADOBE PREMIERE 5.0 User Guide To create rolling or crawling type: Select the rolling title tool ( ). Drag to specify the size of the text object that will contain the rolling title. Dragging the rolling title tool (left) and an empty rolling title text object (right) Type the text you want in the title.
Page 252: Creating Graphic Objects
CHAPTER 7 Creating Titles To preview rolling or crawling type: Drag the slider at the bottom left corner of the Title window. Premiere plays back all rolling or crawling text objects in the Title window. If you have imported a background frame (see “Setting up the Title window”...
Page 253 ADOBE PREMIERE 5.0 User Guide To create a rectangle, rounded-corner rectangle, or ellipse: Click the left half of the desired tool for a framed shape or the right half of a tool for a ﬁlled shape. Do one of the following: Drag to draw the shape.
Page 254 CHAPTER 7 Creating Titles Do one of the following: To close the polygon, click the ﬁrst point you placed. • To leave a framed polygon open, double-click where you want the last point to appear. • You cannot leave a ﬁlled polygon open. A leaf outline drawn as an open framed polygon (left) and closed ﬁlled polygon (right) To change a ﬁlled object to a framed object or vice-versa: With the selection tool, select the graphic object.
Page 255 ADOBE PREMIERE 5.0 User Guide You cannot adjust the line weight of a ﬁlled object because it has no outline. However, you can create a framed duplicate of the object (see the next procedure) and adjust the line weight of the new object.
Page 256: Adding A Shadow
CHAPTER 7 Creating Titles To edit a polygon: With the selection tool, select the graphic object you want to edit. Drag any handle on the object. Smoothed polygon during editing (left) and after editing (right) Adding a shadow Premiere can create an adjustable shadow for text or graphic objects. A slight shadow can help distinguish type from its background.
Page 257: Using Color, Transparency, And Gradients
ADOBE PREMIERE 5.0 User Guide To specify the kind of shadow: Select an object that has a shadow. Choose Title > Shadow and choose a type of shadow from the Shadow menu: Single creates a basic drop shadow. • Solid simulates a three-dimensional shadow.
Page 258 CHAPTER 7 Creating Titles Click the Object Color swatch or the Shadow Color swatch. Object Color swatch (A) and Shadow Color swatch (B) Specify a color (see “Using the Color Picker” on page 253), and click OK. To match a color that exists in the title window: With the selection tool, select a text or graphic object to which you will apply the color.
Page 259 ADOBE PREMIERE 5.0 User Guide To swap the object and shadow colors: Click the curved double arrow ( ). To apply a gradient: Do one of the following: Use the selection tool to select a text or graphic object to affect the entire object.
Page 260 CHAPTER 7 Creating Titles To set opacity: Do one of the following: Use the selection tool to select a text or graphic object to affect the entire object. • Use the type tool to select individual characters in a text object to affect just those characters. •...
Page 261: Using The Color Picker
ADOBE PREMIERE 5.0 User Guide Using the Color Picker In Premiere, you can specify color visually or using RGB (red, green, and blue) color values. The Color Picker becomes available whenever color is an option for a task you perform.
Page 262: Arranging Text And Graphic Objects
CHAPTER 7 Creating Titles To set the default settings for text and graphic attributes: Make sure nothing is selected, and then change any text, color, gradient, shadow, line width, or other attributes. The attributes apply to all subsequent text and objects you create until you change the attributes again.
Page 263: Adding A Title To A Project
ADOBE PREMIERE 5.0 User Guide Adding a title to a project When you’ve completed and saved a title, moving it from the Title window to a project is as easy as dragging. The title becomes a clip in the project, using the original title ﬁle as its source.
Page 264 CHAPTER 7 Creating Titles To make the background of a title transparent in the Timeline: Select the clip in the Timeline. If necessary, drag it to a superimposition track (any track numbered Video 2 or higher). Choose Clip > Video > Transparency. Do one of the following and then click OK: If the title has a white background, choose White Alpha Matte from the Key Type menu.
Page 267: Superimposing And Compositing With Transparency
ADOBE PREMIERE 5.0 User Guide Chapter 8: Superimposing and Compositing with Transparency remiere lets you create full or partial transparency in any clip to add visual fades, super- imposing, and compositing to your video programs. You can adjust the opacity of part or all of a clip, superimpose clips on top of one another for special effects or transitions, and add different backgrounds to clips by compositing them together.
Page 268 CHAPTER 8 Superimposing and Compositing with Transparency Compositing Special effects for ﬁlm or video are often created by shooting a scene against a color screen. After the footage is digitized, the color screen is then made transparent with a key. The ﬁrst scene, or clip, is placed over a second clip, which usually includes some sort of background scene.
Page 269: Using The Fade Control
ADOBE PREMIERE 5.0 User Guide Using the Fade control When you place a clip in a superimpose track, a Fade control appears beneath it (you must expand the superimpose track to display the Fade control). The Fade control speciﬁes the opacity of the entire clip.
Page 270 CHAPTER 8 Superimposing and Compositing with Transparency Repeat the above step to create as many handles as needed. To delete a handle, drag it out of the superimpose track. To create two fade handles: Select the fade scissors tool. Click the Fade control where no handles exist. Two adjacent handles appear. Drag the new handles up or down to make a sharp increase or decrease in opacity.
Page 271: Using Keys For Composites And Superimposing
User Guide Using keys for composites and superimposing Adobe Premiere provides 15 keys (methods for creating transparency) that you can apply to a clip to create transparency in many different ways. You can use color-based keys for compos- iting, brightness keys for adding texture or special effects, alpha channel keys for clips or images already containing an alpha channel, and matte keys for adding traveling mattes or creative superimposing.
Page 272 CHAPTER 8 Superimposing and Compositing with Transparency Choose a key from the pop-up menu. The default key type is None. At this setting, no part of the superimposed image is keyed out. However, you can set the opacity of the image by adjusting the Fade control in the Timeline (see “Using the Fade control”...
Page 273 ADOBE PREMIERE 5.0 User Guide Adjust the transparency sliders and select other options as described in the following sections on individual keys. Drag the slider beneath the Sample to view your transparency settings across the duration of the clip. Click OK to apply the settings to the clip.
Page 274 CHAPTER 8 Superimposing and Compositing with Transparency Smoothing Speciﬁes the amount of anti-aliasing that Premiere applies to the boundary between transparent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges. Choose None to produce sharp edges, with no anti-aliasing. This is useful when you want to preserve sharp lines, such as those in titles.
Page 275 ADOBE PREMIERE 5.0 User Guide Using the Non-Red key The Non-Red key creates transparency from green or blue backgrounds. It is similar to the Blue Screen and Green Screen keys but also lets you blend two clips. In addition, the Non-Red key helps reduce fringing around the edges of non-transparent objects.
Page 276 RGB image that deﬁnes what parts of the image are transparent or semi-transparent. Many programs, such as Adobe Illustrator and Photoshop, use alpha channels to let you specify transparent regions in an image. An alpha channel is either straight or premultiplied, depending on the program that created the image.
Page 277 ADOBE PREMIERE 5.0 User Guide Image Matte The Image Matte key uses a speciﬁed still image (the matte) to determine the areas of trans- parency for a clip. Areas in the superimposed clip that correspond to areas of white in the still image remain opaque;...
Page 278 CHAPTER 8 Superimposing and Compositing with Transparency To get the most predictable results, you should choose a grayscale image for your image matte, unless you want to alter colors in the clip. Any color in the image matte removes the same level of color from the clip you are keying.
Page 279 ADOBE PREMIERE 5.0 User Guide In the Image section of the dialog box, click the Choose button and select the image you saved in step 2. Select the Reverse Key option to key out the static background. Place the new background in a lower track to create the composite.
Page 280 Create a matte from any clip using the Chroma, RGB Difference, Difference Matte, Blue • Screen, Green Screen, or Non-Red key. Then select the Mask Only option. Use Adobe Illustrator or Photoshop to create a grayscale image, import it into Premiere, • and (optionally) apply motion settings to the image.
Page 281: Superimposing Two Or More Clips
Timeline with multiple superimpose tracks Adding a background matte Adobe Premiere lets you create a full-frame matte of a solid color that you can use like a clip. You can use mattes, for example, as a solid background for titles. Brightly colored mattes can serve as temporary backgrounds while you use a key to help you see transparency more clearly.
Page 282: Creating Garbage Mattes
CHAPTER 8 Superimposing and Compositing with Transparency To use a temporary matte for keying: Create a background matte as described above. Typically, a bright green or yellow works best. Place the matte in a track beneath the clip you are keying, in either a superimpose track or the Video 1 track.
Page 283: Creating Split Screens
ADOBE PREMIERE 5.0 User Guide To create a garbage matte: Select a clip in a superimpose track and choose Video > Clip > Transparency. For more details, see page 263. In the Sample area of the Transparency Settings dialog box, drag the handles of the image to include only the subject you want to preserve.
Page 287: Animating A Clip
ADOBE PREMIERE 5.0 User Guide Chapter 9: Animating a Clip dobe Premiere lets you move, rotate, and zoom a video or still-image clip through the area bounded by the video program’s frame. You can specify a motion path, change motion over time with keyframes, and speed up or slow down the motion you’ve deﬁned.
Page 288 CHAPTER 9 Animating a Clip In the top left corner of the dialog box, a sample of the selected clip moves along the default motion path. The default path locates the Start and Finish points outside the frame of the video program so that the clip enters the frame from the left, moves across, and exits on the right.
Page 289 To center the clip in the frame at a point on the motion path: Select the point. Enter the coordinates (0, 0) for the point’s position in the Info boxes below the timeline, or click the Center button to let Adobe Premiere enter these coordinates.
Page 290 CHAPTER 9 Animating a Clip To delete a point on the motion path: Select the point, and press Delete. Changing the speed of motion You can change the speed of motion by positioning motion points along the timeline. Points that have been added to the motion path are represented in time on the timeline below the path.
Page 291 ADOBE PREMIERE 5.0 User Guide Drag the arrow to the left or right. Dragging the arrow closer to another motion point increases the speed between the two points; dragging it further away from a point decreases the speed between the points.
Page 292: Rotating, Zooming, Delaying, And Distorting
CHAPTER 9 Animating a Clip Select Show Outlines to display an outline of the clip (including any rotation, zooming, • or distortion) at each motion point in the path. Select Show Path to display the motion path as a series of dots between the motion points. •...
Page 293 ADOBE PREMIERE 5.0 User Guide For Delay, pause the motion of a clip for the speciﬁed amount of time. The delay value is a • percentage of the duration of the clip. A delay percentage cannot exceed the distance in time to the next motion point.
Page 294: Specifying An Exact Time For Motion
CHAPTER 9 Animating a Clip To spin a distorted image around a center point, hold down the Alt key (Windows) or the • Option key (Mac OS) and position the pointer on a corner point; then drag to spin the image around a center point.
Page 295 Superimposes a clip using its existing alpha channel. This is the normal setting Alpha: Use Clip’s for titles or graphics created in another application that supports alpha channels, such as Adobe Photoshop. This option will affect only those clips that have been assigned an alpha channel key type in the Transparency Settings dialog box.
Page 296: Saving, Loading, And Deleting Motion Settings
CHAPTER 9 Animating a Clip Alpha: Create New Creates an opaque ﬁll for clips that do not have an existing alpha channel. With this option selected, an alpha channel is created in the shape of the clip as it moves. This option affects only those clips that have been assigned an alpha channel key type in the Trans- parency Settings dialog box.
Page 299: Applying Video Filters
The Ripple ﬁlter, for example, lets you set the direction, intensity, and width of the ripple. Descriptions of video ﬁlters included with Adobe Premiere are available in online Help. You can change a ﬁlter effect over time by creating keyframes. A keyframe contains the values for all the controls in the video ﬁlter and applies those values to the clip at the speciﬁed time.
Page 300: Applying Video Filters To A Clip
CHAPTER 10 Applying Video Filters For example, suppose you wanted to use the Crystallize ﬁlter to add an effect that increases and then decreases over time. In this case, you would need to set three keyframes—the ﬁrst with light crystallization, the second with more signiﬁcant crystallization, and the third with light crystallization.
Page 301: Applying Multiple Filters
Click Remove. Applying multiple ﬁlters You can apply two or more ﬁlters to a clip to produce more complex special effects. Adobe Premiere applies ﬁlters in the order in which they appear in the Current list in the Filters dialog box, top to bottom.
Page 302 CHAPTER 10 Applying Video Filters Each ﬁlter has its own set of keyframes. Modifying keyframes for one ﬁlter does not affect the keyframes for any other ﬁlters applied to the same clip. To apply multiple ﬁlters to a single clip: Add a ﬁlter to the list of Current ﬁlters in the Filters dialog box as explained in “Applying video ﬁlters to a clip”...
Page 305: Producing Final Video
ADOBE PREMIERE 5.0 User Guide Chapter 11: Producing Final Video hen you have ﬁnished assembling and editing clips in the Timeline, you can generate the ﬁnal video. The options you choose when exporting the ﬁnal video depend on how it will be used. This chapter will help you produce high-quality videos for different purposes: Record the Timeline directly to videotape as it plays from your computer.
Page 306: Specifying Compression For Final Video
CHAPTER 11 Producing Final Video You may want to prepare variations of one program or clip for several uses. For example, you may want to prepare low- and high- resolution versions of a program or clip, or create versions for broadcast television, CD-ROM distribution, and Web viewing. You can automate the export of project variations using batch processing.
Page 307 ADOBE PREMIERE 5.0 User Guide The codecs available for recording to videotape depend on the Editing Mode you specify in the Project Settings dialog box, and the codecs available for export depend on the File Type you select in the Export Movie Settings dialog box. Video for Windows, QuickTime, and the software that comes with a video-capture card may each provide a different set of codecs to Premiere.
Page 308 CHAPTER 11 Producing Final Video Setting the data rate Some video codecs let you specify the data rate, which controls the amount of video information that must be processed each second during playback. Specifying a data rate in Premiere actually sets the maximum data rate, because the actual data rate varies depending on the visual content of each frame.
Page 309 ADOBE PREMIERE 5.0 User Guide The data rate is less important than the size Downloading a video ﬁle over the World Wide Web of the video ﬁle on disk, because the main concern is how long it takes to download the ﬁle.
Page 310 CHAPTER 11 Producing Final Video Setting keyframes Some codecs provide an additional degree of control over ﬁle size and picture quality by using compression keyframes, which act as starting points for temporal compression (see “Temporal compression” on page 349). You can set keyframes at an interval you specify or at markers you set in the Timeline.
Page 311: File Types Available For Exporting
Use as an easy way to display video and motion graphics on a Web page. Animated GIF Animated GIF ﬁles cannot include audio. Use when you want to rotoscope, or paint directly on video frames, using Adobe Filmstrip Photoshop. (Windows only) Use for an animation or sequence of still images when you want to edit Flc/Fli them in software that supports these formats.
Page 312: Exporting Video Files
CHAPTER 11 Producing Final Video Targa sequence Use for a sequence of still images for editing in software that supports this format. Use for a sequence of still images for editing in software that supports TIFF sequence this format. Windows bitmap (Windows only) Use for a sequence of still images for editing in Windows software that supports this format.
Page 313 ADOBE PREMIERE 5.0 User Guide To export a video ﬁle: Activate the Timeline, Source view, Program view, or a Clip window. If you are exporting the Timeline and it includes virtual clips, make sure the work area in the Timeline includes the main video program only.
Page 314 CHAPTER 11 Producing Final Video Choose Video Settings from the menu at the top of the dialog box and specify the following options: For Compressor, choose the codec (compressor/decompressor) for Premiere to apply when • exporting a ﬁle, and click Conﬁgure (if available) to set options speciﬁc to the selected codec. The codecs available depend on the File Type you chose in the Export Settings panel.
Page 315 ADOBE PREMIERE 5.0 User Guide For Quality, enter a value to affect the picture quality of and disk space used by exported • video. Increasing quality makes the picture look better, but requires more disk space and may not play smoothly on slower computers.
Page 316 CHAPTER 11 Producing Final Video For Enhanced Rate Conversion, specify a level of quality for converting the sample rates • of clips in the Timeline to the sample rate you speciﬁed in the Rate option. Enhanced Rate Conversion controls both rate upsampling and downsampling. Off resamples audio most quickly but produces moderate quality.
Page 317 ADOBE PREMIERE 5.0 User Guide For Field Settings, choose an option if required for your ﬁnal medium. No Fields is the • default and is the equivalent of progressive scan, the correct setting for computer display and motion-picture ﬁlm. Choose Upper Field First or Lower Field First when exporting video for an interlaced medium such as NTSC, PAL, or SECAM.
Page 318 CHAPTER 11 Producing Final Video Select Scale To (frame size) if you cropped the video and want to enlarge the cropped frame • to match the Frame Size you speciﬁed in the Video Settings panel. Deselect this option if you want the video to be exported at the cropped size.
Page 319: Creating A Videotape
ADOBE PREMIERE 5.0 User Guide Creating a videotape You can record your edited program onto videotape directly from your computer. This can be as simple as playing the video full-screen and recording on a connected VCR. You can also use Premiere to control a deck if your computer is properly connected to a deck that supports device control.
Page 320 CHAPTER 11 Producing Final Video To record the Timeline on videotape by using device control: Make sure your video recording deck is on, that you’ve set it up correctly using the File > Preferences > Scratch Disks/Device Control command, and that the correct tape is in the deck. Choose File >...
Page 321: About Creating A Video File For Cd-Rom Playback
ADOBE PREMIERE 5.0 User Guide Click OK, and start the video recording deck. You can record a clip on videotape without adding it to the Timeline. Open the clip (see “Displaying a clip” on page 132) and then choose File > Export > Print to Video.
Page 322: About Creating A Video File For The Internet
CHAPTER 11 Producing Final Video About creating a video ﬁle for the Internet In general, Internet video is constrained by delivery data rates that are even lower than those used for CD-ROM playback. Use the guidelines for CD-ROM exporting (see ““About creating a video ﬁle for CD-ROM playback”...
Page 323 ADOBE PREMIERE 5.0 User Guide Select if you want the animated GIF to play continuously without stopping. Deselect Looping this option if you want the animated GIF to play only once and then stop. This option is not available for a GIF sequence.
Page 324: About Creating A Video File For Use In Other Software
Premiere exports to many formats readable by other applications. For example, you can export a QuickTime movie for use in Adobe After Effects. When preparing to export to a video ﬁle for use in other video-editing or special effects software, answer the following questions: What ﬁle formats and compression methods does the other software import? This helps...
Page 325: Exporting An Edit Decision List
ADOBE PREMIERE 5.0 User Guide What is the highest quality compression method the other software imports? Using high- • quality compression limits the degree of compression that can be applied to the video ﬁle but retains quality. You want to retain the highest possible level of picture quality until the editing process is complete.
Page 326 CHAPTER 11 Producing Final Video Exporting an EDL When you create an EDL in Premiere, the editing decisions you make in the Timeline are recorded in the EDL in text format. You can export the editing decisions to any of the EDL formats and view and print the EDL by opening it in Premiere or in any word processor.
Page 327 ADOBE PREMIERE 5.0 User Guide To export a project to a speciﬁc EDL format: Choose File > Export, and choose an EDL format from the bottom of the Export menu. Specify the following options (which may vary by the type of EDL you choose): Title for This EDL to display in the EDL header.
Page 328 CHAPTER 11 Producing Final Video Click Wipe Codes and type the wipe pattern codes used by your post-production facility. Specify the following options as necessary, and then click OK: Load to replace the existing wipe codes with those from a ﬁle on disk. •...
Page 329 ADOBE PREMIERE 5.0 User Guide Track and Destination list to assign Premiere audio tracks to any of the EDL audio tracks. • Click Off to keep a Premiere audio track out of the EDL. If you selected a Stereo Grouping option, the EDL tracks are available in the list in pairs, not individually.
Page 330 CHAPTER 11 Producing Final Video Premiere’s ﬁlters and motion settings are completely ignored in a standard EDL. Superimposed clips are described as keys. The only transition permitted under a key is a Cut; other transitions under keys are removed from the EDL. Many Premiere transitions correspond closely to wipe patterns that can be produced by a video switcher, a device that handles transitions in a conventional edit bay.
Page 331 ADOBE PREMIERE 5.0 User Guide Components of an EDL While slight differences exist among different EDLs, most contain eight primary columns and two auxiliary columns. Header Names the list and the type of timecode in which the record was created (drop frame or non-drop-frame).
Page 332 CHAPTER 11 Producing Final Video Audio in the EDL Because Premiere works with ﬁles on a computer instead of tapes, it controls sound in a way that differs signiﬁcantly from traditional editing systems. Traditional tape-based editing systems are designed to record from (and to) one or more audio tracks on the videotape or onto a separate audio tape recorder.
Page 333: Creating A Sequence Of Still Images
ADOBE PREMIERE 5.0 User Guide Interleaves the audio and video tracks as separate edits within the EDL. Audio Separately For these options, the following rules govern the way that Premiere translates sound edits into a format that the EDL can interpret: If a clip on track Video 1A completely overlaps a clip on track Video 1B (that is, if it has the •...
Page 334: Creating A Filmstrip File For Editing In Photoshop
CHAPTER 11 Producing Final Video To export a series of still images: Choose File > Export > Movie. Click Settings. For File Type, choose a still-image sequence format (generally any ﬁle type ending in the word “sequence”) and the FLC/FLI (Windows only) ﬁle type. Choose the frames to export from the Range menu.
Page 335 ADOBE PREMIERE 5.0 User Guide A ﬁlmstrip is a single ﬁle that contains all the frames of the clip. If your computer doesn’t have enough memory to enable Photoshop to load the ﬁlmstrip ﬁle, consider exporting the clip as numbered still images instead so you can edit each frame as a separate ﬁle (see “Creating a sequence of still images”...
Page 336: Exporting A Still Image
CHAPTER 11 Producing Final Video Click Next, and conﬁrm video settings (see “Exporting video ﬁles” on page 304). Make sure the frame rate is the same as the project frame rate. Then click OK. Note: If the video contains interlaced ﬁelds, select Keyframe and Rendering Options from the menu at the top of the dialog box, and for Field Settings select Upper Field First if the original source video is ﬁeld 1 dominant, or Lower Field First if the original video is ﬁeld 2 dominant.
Page 337: Creating A Sequence Of Video Files
ADOBE PREMIERE 5.0 User Guide Click Next. In the Keyframe and Rendering Options panel, specify options as needed (see “Exporting video ﬁles” on page 304). Click Next. In the Special Processing panel, click Modify, and specify options as needed (see “Exporting video ﬁles” on page 304).
Page 338: About Creating Motion-Picture Film
CHAPTER 11 Producing Final Video To view the sequence on a monitor or play it for recording to videotape: Make sure the Sequence window is active. Do one of the following and then click OK: Choose File > Export > Print to Video, and specify settings. See “Playing back full-screen •...
Page 339: Processing A Batch Of Projects
ADOBE PREMIERE 5.0 User Guide Processing a batch of projects You can export multiple video programs or clips to multiple ﬁles automatically. The Batch Processing command uses the export settings and compression options you specify for each video ﬁle being created. You can create and save multiple batch lists for easy, repeatable exporting of groups of projects.
Page 340 CHAPTER 11 Producing Final Video To process a continuous range of projects in the list, click to select the ﬁrst project you want • to process, hold down Shift as you click the last project you want to process, click Make, select Make Selected Sources Only, and click OK.
Page 343: Measuring Time And Frame Size
ADOBE PREMIERE 5.0 User Guide Appendix A: Measuring Time and Frame Size ideo editing uses established measurement systems that address the speciﬁc require- ments of working with video. Consistent measurement is important because video is typically transferred between many kinds of software and hardware in the course of video production.
Page 344 APPENDIX A Measuring Time and Frame Size The timebase affects the way clips are represented in the Project and Timeline windows. For example, the tick marks in the Timeline window’s time ruler represent the timebase. A clip in Source view uses the timebase at which it was saved; Premiere duplicates or skips frames to adjust a source clip timebase to the project timebase.
Page 345 ADOBE PREMIERE 5.0 User Guide Premiere must repeat every fourth frame in the clip to match the number of frames required to match the timebase. If a clip shot at 30 fps is used in a project with the timebase set to 24, the mathematics work in reverse, and every fourth frame cannot be displayed.
Page 346 APPENDIX A Measuring Time and Frame Size When motion in a Timeline clip appears to stutter during playback, increasing the Video • Settings or Export Settings frame rate may not automatically improve the motion in the source clip, because all of the clip’s frames available in the Timeline are already included (unless you reduced the clip’s frame rate using Frame Hold).
Page 347: Understanding Timecode And Time Display Options
ADOBE PREMIERE 5.0 User Guide Understanding timecode and time display options Timecode deﬁnes how frames are counted and affects the way you view and specify time throughout a project. You specify a timecode style based on the media most relevant to your project.
Page 348 APPENDIX A Measuring Time and Frame Size duration. While tiny at ﬁrst, this difference grows as program duration increases, preventing you from accurately creating a program of a speciﬁc length. Drop-frame timecode is a SMPTE standard that maintains time accuracy by eliminating this error. When you use drop-frame time code, Premiere renumbers the ﬁrst two frames of every minute, except for every tenth minute.
Page 349: Comparing Interlaced And Non-Interlaced Video
ADOBE PREMIERE 5.0 User Guide When you use the Frames/Samples option, you gain ﬂexibility in setting the audio source In point only. The source clip’s In point speciﬁes the ﬁrst frame or audio sample played back from the clip, not the program In point in the Timeline where the audio clip begins to play. When you add the clip to the Timeline, the clip’s source In and Out points are translated into program...
Page 350 APPENDIX A Measuring Time and Frame Size to interlaced video, make sure the ﬁeld order you specify matches the receiving system, otherwise motion may appear stuttered, and edges of objects in the frame may break up with a comb-like appearance. Interlaced video describes a frame with two passes of alternating scan lines.
Page 351 ADOBE PREMIERE 5.0 User Guide Television signals are interlaced because of problems with early television sets. The screen phosphors displaying the image faded too quickly: When early televisions displayed a picture using progressive scan, the picture was already dark at the top of the screen before the last scan line was displayed.
Page 352: Measuring Frame Size And Resolution
APPENDIX A Measuring Time and Frame Size Measuring frame size and resolution In editing digital video, frame size is also referred to as resolution. Several attributes of frame size are important when editing video on a personal computer: pixel (picture element) and frame aspect ratio, clip resolution, project frame size, and bit depth.
Page 353 ADOBE PREMIERE 5.0 User Guide oriented, and D-1 pixels in systems producing PAL video are horizontally oriented. If you display D-1 format on a non-D-1 monitor without modiﬁcation, the 720-by-486 pixel resolution does not produce a 4:3 aspect ratio. Shapes and motion appear stretched; for example, circles are distorted into ellipses.
Page 354 APPENDIX A Measuring Time and Frame Size You set the frame size of a source clip in the software that produced it. If a source clip frame size doesn’t match the frame size speciﬁed in the Video Settings or Export Settings dialog boxes, Premiere resizes it to ﬁt.
Page 355: Compressing Video And Audio
ADOBE PREMIERE 5.0 User Guide Appendix B: Compressing Video and Audio igital video involves storing, moving, and calculating extremely large volumes of data compared to other kinds of computer ﬁles. The data rate and ﬁle size of uncompressed digital video can overwhelm many personal computers and hard disks. Use compression to lower the data rate of digital video into a range that your computer system can handle.
Page 356: About Video Compression
APPENDIX B Compressing Video and Audio When playing back the Timeline to record on videotape, preserve the highest quality by • specifying the same compression settings you used to capture the source. If the video in your project was not captured using your computer, specify the highest quality compression settings your computer can handle while still playing back video smoothly.
Page 357 ADOBE PREMIERE 5.0 User Guide a version of this technique that is used by many codecs. As you increase spatial compression, the data rate and ﬁle size decrease, and the picture loses sharpness and deﬁnition. For many codecs, the degree of spatial compression is controlled by the Quality and Data Rate options—...
Page 358 APPENDIX B Compressing Video and Audio Lossless and lossy compression Some codecs use lossless compression, which ensures that all of the information in the original clip is preserved after compression. This maintains the full quality of the original, which makes lossless compression useful for ﬁnal-cut editing or moving clips between systems.
Page 359 ADOBE PREMIERE 5.0 User Guide presses video relatively quickly, making it useful for video ﬁles that must play well on both high- and low-end computers, but to achieve this it requires more time when compressing. Symmetry varies depending on the codec and is generally not adjustable within a codec.
Page 360: Finding An Appropriate Codec
APPENDIX B Compressing Video and Audio Bit depth The bit depth determines the number of colors that will be used to export the movie. Higher bit depths create larger ﬁles. When you specify lower bit depths, you may be able to retain some control over color quality by specifying a custom color palette (see “Video settings”...
Page 361 ADOBE PREMIERE 5.0 User Guide In all video and audio codec lists, the None or Uncompressed setting provides excellent picture and sound quality because no compression is applied. However, working with uncompressed video is not recommended because the resulting data rate requires an extremely fast system and very large amounts of disk space.
Page 362 APPENDIX B Compressing Video and Audio Microsoft RLE Useful for compressing frames that contain large areas of ﬂat color, such as cartoon-style animation. This codec uses a spatial 8-bit run-length encoding (RLE) compressor and is lossless at the 100% quality setting. Useful for compressing analog video.
Page 363 ADOBE PREMIERE 5.0 User Guide Useful for music and speech distributed over the Internet. Its maximum Intel Audio Software compression ratio is 8:1. This codec is designed to work together with the Intel Video Software codec. TrueSpeech Useful for speech over the Internet at low data rates.
Page 364 APPENDIX B Compressing Video and Audio Animation Useful for clips that use large areas of solid colors, such as cartoon animation. The settings determine the degree to which the compression is lossy; 100% quality is lossless. The Animation codec employs an Apple compression algorithm based on run-length encoding.
Page 365 ADOBE PREMIERE 5.0 User Guide Useful for compressing 24-bit video intended for CD-ROM discs or for downloadable Cinepak Web video ﬁles. This codec attains higher compression ratios and faster playback speeds than the Video codec. You can set the data rate for playback; picture quality drops more noticeably at data rates below 30 KBps.
Page 366 APPENDIX B Compressing Video and Audio 16-bit Big Endian and 16-bit Little Endian Useful when audio must be stored using Big Endian or Little Endian (byte order) encoding, such as when preparing microprocessor-speciﬁc audio. These codecs are useful for hardware and software engineers but are generally not useful for video editing.
Page 367: Maximizing Performance
ADOBE PREMIERE 5.0 User Guide Appendix C: Maximizing Performance he performance requirements of video editing make it especially sensitive to how you set up your computer system and the decisions you make when you edit a program. Knowing how to set up and work efﬁciently can help you save time while preserving quality.
Page 368 APPENDIX C Maximizing Performance Hardware compression on the video-capture card can greatly increase performance and reliability by reducing the amount of data that the card passes on to the rest of the system. Video cards that have Motion JPEG compression can usually capture full-motion video effec- tively.
Page 369 ADOBE PREMIERE 5.0 User Guide You may achieve higher transfer rates with special hard disk conﬁgurations, such as disk • arrays, SCSI 2, Ultra SCSI, or Ultra DMA IDE. Most studios maximize both performance and volume by capturing video to very fast arrays of multiple high-capacity hard disks.
Page 370: Techniques For Faster Editing
APPENDIX C Maximizing Performance Techniques for faster editing As you create a video program, the number of source clips and settings you edit and manage become more complex. This complexity can get in the way of your creative ﬂow, so Premiere provides many options and techniques to simplify a complex project and edit efﬁciently.
Page 371 ADOBE PREMIERE 5.0 User Guide Using keyboard shortcuts Almost every function in Premiere has an associated keystroke, including some functions that don’t appear as commands or buttons. Some keyboard shortcuts are very fast because they require pressing only one key. Keyboard shortcuts appear next to menu commands and in the Tool Tips for buttons and controls, and are fully documented in the Quick Reference Card.
Page 372: Maintaining Edited Projects
APPENDIX C Maximizing Performance Setting up a virtual clip as a separate project Including a complex virtual clip in the Timeline increases the calculations Premiere must perform to create a preview ﬁle. Try exporting the virtual clip as a video ﬁle using a lossless compressor and importing the resulting video ﬁle into the main project.
Page 373: Troubleshooting
Appendix D: Troubleshooting his appendix contains common solutions to problems you may encounter when using the Adobe Premiere program. For additional help, see the Read Me ﬁle installed with the program, which contains last-minute information not included in this user guide.
Page 374: General Operating Problems
Premiere to the desktop. In Mac OS, quit Premiere and move the Adobe Premiere 5.0 Prefs ﬁle from the Preferences folder (stored inside the System Folder) to the desktop. If the problem doesn’t appear the next time you start Premiere, you may delete the preferences ﬁle.
Page 375 ADOBE PREMIERE 5.0 User Guide Check for a conﬂict with new software or settings Very often, problems with Premiere can be traced to recent installation of new software or utilities that are running at the same time as Premiere, often invisibly in the background.
Page 376 Before reinstalling, delete all of the ﬁles installed with Premiere. In Windows, you can do this by choosing Start > Programs > Adobe > Premiere 5.0 > Uninstall Premiere 5.0. In Mac OS, drag the Adobe Premiere™ 5.0 folder to the Trash. Be sure you also delete the Preferences ﬁle as described earlier in this section.
Page 377: Common Problems
If you are installing from the CD, copy the entire set of program folders to your hard disk and then install from the hard disk. For additional installation instructions, see “Installing Adobe Premiere” on page 6. Common problems This section describes how to resolve many common problems you may encounter while using Premiere.
Page 378 APPENDIX D Troubleshooting Undo is not available If you were working in the Timeline window but switched to another window, try activating the Timeline again. This will not help if you have already performed an action outside of the Timeline after you switched away from it. You can undo up to 32 steps in the Timeline, but only one step in other windows (see “Correcting mistakes”...
Page 379 ADOBE PREMIERE 5.0 User Guide Can’t drag the video or audio of a clip in the Timeline Do the following: Examine the linked audio track (if you were dragging video) or linked video track (if you • were dragging audio), if present. If the linked track is touching an adjacent track in the direction you are trying to drag, there is no room to drag the linked track.
Page 380 APPENDIX D Troubleshooting With the Timeline window active, choose Edit > Undo as many times as necessary (limited • by the number of Undo steps available) to return to a state where audio and video are in sync. See “Correcting mistakes” on page 73. If you recently added clips to the Timeline, certain combinations of source Take icons, target •...
Page 381 ADOBE PREMIERE 5.0 User Guide Motion appears to stutter in a clip when played back Do the following: If the source video is interlaced, select the clip in the Timeline, choose Clip > Video > • Field Options and make sure options are speciﬁed properly, particularly for the ﬁeld dominance of the clip;...
Page 382 APPENDIX D Troubleshooting An object or other visual feature ﬂickers during playback Try the following: First, open the source clip and step through it frame by frame. If you see the ﬂickering in the • source clip, it was introduced when it was captured, before you worked with it in Premiere. If you don’t see ﬂickering in the source clip but you do see it in a clip you exported, try •...
Page 383 ADOBE PREMIERE 5.0 User Guide Compare the properties of source clips to the Project Settings or Export Settings, and • make them more similar. When a source frame matches the Project Settings or Export Settings, Premiere can simply copy the frame from the source ﬁle to the destination ﬁle.
Page 384 APPENDIX D Troubleshooting The duration of previewed or exported NTSC video is inaccurate If you are editing an NTSC video program for a speciﬁc duration, such as a program that must run for exactly 30 minutes, make sure you speciﬁed a timebase of 29.97 and a time display of 30 fps Drop-Frame Timecode;...
Page 385: Index
Adobe After Effects 124 new features 7 premultiplied 268 Adobe Dimensions 124 online Help 6 previewing by scrubbing 194 Adobe Illustrator (AI) file format package contents 4 straight 268 empty areas as transparent 268 Software Developer’s Kit 5 in titles 255...
Page 386 INDEX audio suppressing filters 65 background mattes 273 audio lead edit 223 sweetening 217 Backwards (Audio) filter. see capturing 115 tracks in EDLs 321 online Help counting samples 340 Backwards (Video) filter. see using left or right channel only online Help cross-fading 218 backwards, playing a clip 162 volume 218...
Page 387 ADOBE PREMIERE 5.0 User Guide bit depth CD. see compact disc audio calibrating timecode 110 audio 63 CD-ROM, creating video for 300 Camera Blur filter. see online Help audio (Mac OS) 117 Capture Settings Center Horizontally command color audio 115...
Page 388 INDEX enabling and disabling for trimming edits 186 Color Picker, using 253 output 164 Color Replace filter. see online trimming unused frames 69 Help finding source 165 video and audio clips 185 Commands palette 87 frame rate 160 viewing 132 compact disc audio 119 instances 152 virtual clips 189...
Page 389 ADOBE PREMIERE 5.0 User Guide compression. see also codecs current time marker. see also edit deinterlacing 163 line Compressor. see also codecs 61 deleting Cut command 182 Compressor/Expander filter. see a range of frames 183 online Help cuts-only rough cut 141...
Page 390 INDEX DPS Perception 120 generating 318 ripple edit 179 Draft option (Title window) 237 parts of 323 rolling edit 179 drop-frame timecode 339 recording reel options 319 slide edit 180 dropped frames special effects in 321 slip edit 180 aborting capture on 95 specifying source and target time base and 318 tracks 145...
Page 391 FLM. see Filmstrip file format filled title objects 247 still-image sequence 325 Font command 240 film, motion-picture 60 fonts. see also Adobe Type Library, text list of files 83 Filmstrip (FLM) file format 124 Adobe Type Manager 240 Extract button 184 four-point edit 172 Extract filter.
Page 392 62 Ignore Video Filters option 65 GIF file format 122 for previewing 62 GIF sequence 303 recompression and 351 Illustrator. see Adobe Illustrator Gradient Wipe transition 213 IMA codec 358 framed title objects 247 gradients, in a title 251 frames...
Page 393 ADOBE PREMIERE 5.0 User Guide importing Info palette 86 jog tread 137 animations 124 Insert button 170 JPEG, JPG (Joint Photographics clips 120 inserting clip in program 168 Experts Group) file format compact disc audio installing Adobe Premiere 6 digital audio 119...
Page 394 INDEX Keyframe and Rendering Options Leading command 240 looping playback 135 defined 58 Lens Distortion filter. see online lossless compression 350 Help for exporting 308 lossy compression 350 Lens Flare filter. see online Help for playback 64 Levels filter. see online Help lower field 341 libraries for previewing 347...
Page 395 ADOBE PREMIERE 5.0 User Guide monitors. see previewing Motion Picture Experts Group. see masks, alpha channel 268 MPEG file format Mosaic filter. see online Help masks, Image Mask transition 212 motion-picture film 330 motion master clip, defined 152 MOV. see QuickTime...
Page 396 60 slow processing 374 tips for improving 359 painting frames 326 Photo (JPEG) codec 356 offline editing, defined 92 Photoshop. see Adobe Photoshop aspect ratio 344 offline files 69 PICT file format capturing requirements 359 On Insert option 140...
Page 397 347 trimming clips 69 requirements for Premiere (Mac on another monitor 195 Properties window 127 OS) 3 overview 192 PSD. see Adobe Photoshop file requirements for Premiere format (Windows) preview files 197 PVD. see DPS Perception range select tool 173...
Page 398 INDEX Scratch Disks / Device Control rate stretch tool 159 Roll Options command 243 command 197 razor tool 181 rolling edit 176 Screen key type 267 Recompress option 62 rolling edit tool 179 scrubbing 194 recording final video 311 rolling title tool 243 SCSI, connecting devices 367 rectangle tool 245 rolling titles 242...
Page 399 ADOBE PREMIERE 5.0 User Guide shy tracks 143 Source view time display 133 subclips 150 Single View 135 spatial compression 348 superimposing clips 273 16mm film time display 339 Special Processing export options EDLs and 321 superimposing. see also 16-bit Big Endian codec 358...
Page 400 INDEX tick mark ( ) in Batch Capture setting manually 107 cross-platform 71 window 99 Timeline count 140 Draft option 237 TIFF, TIF visual 107 editing text in 240 exporting as sequence 304 Timecode command 318 filled and framed objects 244 exporting as still image 328 Timecode Decoder command 108 importing as sequence 124...
Page 401 ADOBE PREMIERE 5.0 User Guide transitions troubleshooting tour, hands-on 15 adding 205 common problems 369 Track Matte key type 271 customizing 214 general problems 366 tracks adding and deleting 144 cut 203 performance 374 audio in EDLs 321 default settings 210...
Page 402 INDEX video videotape Windows Bitmap file format. see BMP file format descriptions of each filter. see data rate for 300 online Help 291 windows, Premiere 76 device control and 312 Windows. see Microsoft Windows interlaced 162 recording to 198 wipe codes 320 lower field 341 virtual clips 189 work area 191...
Page 403 ADOBE PREMIERE 5.0 User Guide Production notes This book was created electronically using Adobe FrameMaker. Art was produced using Adobe Illustrator, Adobe Photoshop, and Adobe Premiere. The Minion, Frutiger and Granjon families of typefaces are used throughout this book. Tutorial Photography and Video Footage...

This manual is also suitable for:

Premiere 5.0

Adobe PREMIERE 5 User Manual

Getting Started with Adobe Premiere

A Tour of Adobe Premiere

Working with Projects

Preparing and Importing Source Clips

Editing Video

Adding Transitions

Mixing Audio

Creating Titles

Superimposing and Compositing with Transparency

Animating a Clip

Applying Video Filters

Producing Final Video

Measuring Time and Frame Size

Compressing Video and Audio

Maximizing Performance

Troubleshooting

Index

Quick Links

Related Manuals for Adobe PREMIERE 5

Summary of Contents for Adobe PREMIERE 5

This manual is also suitable for:

Table of Contents