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Page 1 Windows environment. Navigating in Help Help opens in an Adobe Acrobat window with the Bookmarks pane open. (If the Bookmarks pane is not open, click the Bookmarks tab at the left edge of the window.) At the top and bottom of each page is a navigation bar containing links to this page (Using Help), the table of contents (Contents), and the index (Index).
Page 2 Adobe Premiere Pro Help Using Help Using Help Contents Index Back To ﬁnd a topic using the Search command (Acrobat 6): 1 Choose Edit > Search. 2 Type a word or phrase in the text box and click Search. Acrobat searches the document and displays every occurrence of the word or phrase in the Results area of the Search PDF pane.
Page 3 Adobe Premiere Pro Help Contents Using Help Contents Index Back Contents Learning About Adobe Premiere Pro 4 Key Features in Adobe Premiere Pro 10 Tutorials 15 Working with Projects 40 Capturing and Importing Source Clips 63 Assembling a Sequence 103...
Page 4 Adobe provides a variety of options for you to learn Adobe Premiere Pro, including online Help and tool tips. You can also use the Adobe Web site to easily access a host of contin- ually updated Web resources for learning Adobe Premiere Pro, from tips and tutorials to technical support information.
Page 5 Look at the Keyboard Shortcuts Appendix. board shortcuts Working with Adobe Premiere Pro People work with Adobe Premiere Pro in many different ways. In this section, you’ll ﬁnd directions to speciﬁc information to help you accomplish some common Adobe Premiere Pro tasks.
Page 6 “About pixel aspect ratio” on page 99). Crop or resize oversized images that you want to animate in Adobe Premiere Pro to the • minimum dimensions you need to achieve the effect, and make sure that the image doesn’t exceed the maximum dimensions allowed (see “File-size limitations”...
Page 7 Back If you want to customize your editing environment Adobe Premiere Pro’s ﬂexible interface lets you work the way that’s best for you and your projects. You can fully customize the windows, workspaces, and most keyboard commands to maximize your efﬁciency: Customize each window according to your editing style or the task at hand (see •...
Page 8 Adobe Premiere Pro support page On the Adobe Premiere Pro support page on the Adobe Web site, you’ll ﬁnd product infor- mation and links for downloading plug-ins and updates, as well as information on training, support, vertical market solutions, and Adobe Premiere Pro–related products. The many useful learning tools available at www.adobe.com/products/premierepro include the...
Page 9 See the ReadMe ﬁle installed with the program for information that became available • after this guide went to press. See the Adobe Premiere Pro support page for information on top support issues and • troubleshooting information for common problems. (See “Adobe Premiere Pro support...
Page 10 Create projects in a streamlined user interface Adobe Premiere Pro allows you to arrange clips, view media, and create motion paths with unprecedented ease. In addition, nested timelines allow new methods of displaying footage for complex projects. The capture controls, keyframing features, and media management tools allow you maximum ﬂexibility with your media projects.
Page 11 DV, SD, and HD; popular optical formats, such as DVD, CD, VCD, and SVCD; and the Web. Adobe Premiere Pro works with virtually any codec that Windows XP supports. A sample of supported video formats includes MPEG1, MPEG2, DV, AVI, Windows Media 9 Series, Real Media 9 (export only), QuickTime, Open DML (import only), and more.
Page 12 VST plug-ins that come with Adobe Premiere Pro, including Reverb, EQ, Pitch Shift, Dynamics, DeNoiser, and MultibandCompressor. New VST plug-in support enables you to expand your audio toolkit and use your favorite VST plug-ins with Adobe Premiere Pro. Improve effects and mixing workﬂow and processing efﬁciency using sends and submixes.
Page 13 Back Edit with precision Take advantage of Adobe Premiere Pro’s ability to apply transitions to multiple clips. Move clips around easily and work with multiple edit points at once. Then preview how your rendered footage will look before actually rendering it.
Page 14 2. Prepare a project for the clips you’ll capture. Start Adobe Premiere Pro and open or create a project that was created using one of the DV presets in the New Project dialog box. When you use a DV-based preset, make sure the preset’s audio sample rate (48 kHz or 32 kHz) matches the setting on your camera at the...
Page 15 Choose File > Capture, or press F5. The status line above the preview area tells you about the connection between your device and Adobe Premiere Pro. If the status line reads “Capture device ofﬂine,” check to make sure all cable connections are secure and the device is on.
Page 16 Scene Detect automatically splits a tape into multiple clips based on scene breaks that Adobe Premiere Pro detects, such as when you pause the tape while recording. Handles are extra frames you capture so that you have ﬂexibility for editing and transitions. For transitions, you should capture the equivalent of at least one second of handles before and after each scene.
Page 17 Set Out. Click Log Clip, change the clip data as needed, and then click OK. Adobe Premiere Pro adds the logged clip as an ofﬂine ﬁle in the Project window. Repeat this step as many times as needed for the other clips you want to log.
Page 18 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back As you log clips, feel free to adjust options as necessary as the content on the tape changes. For example, as the tape plays back, you can adjust the Log Clips To Bin or the Clip Data options as you anticipate an upcoming scene.
Page 19 So once the shots are complete, it only seems natural to arrange them into storyboard form before committing them to a rough cut. With Adobe Premiere Pro, you ®...
Page 20 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back 2. Set each clip’s thumbnail image. Select a clip to view it in the preview area at the top of the Project window. Press the Play button next to the preview image, or drag the scroll bar under the preview image to cue the clip to a representative frame.
Page 21 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back 3. Arrange the clips into a storyboard. In the Project window, drag the clips into the order you want them to appear in the sequence. Arrange them from left to right, top to bottom, in storyboard fashion. You can drag a marquee to select a group of clips or Ctrl-click to add or subtract from your selection.
Page 22 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back You should set In and Out points to deﬁne the parts of the clips you want to use, especially when the source clips include more footage than you plan to include in the ﬁnal sequence.
Page 23 Ctrl-click to add and subtract shots from your selection. The whole idea of a storyboard is to put your shots in sequential order. Nevertheless, you can have Adobe Premiere Pro place them in the sequence according to the order you select the clips instead.
Page 24 Just add layers, adjust, and go! 1. Import Adobe Photoshop ﬁles. To take full advantage of new compositing capabilities in Adobe Premiere Pro, use Photoshop ﬁles with transparent backgrounds, or add an alpha channel to an existing Photoshop ﬁle.
Page 25 Back 2. Optimize your work area to use effects. Adobe Premiere Pro uses effects to animate layers and provides a workspace setting designed speciﬁcally for this task. Choose Window > Workspace > Effects to open the Effect Controls window, docked in the Monitor window. Click the tab to view its contents.
Page 26 In the Effect Controls window, move the current-time indicator to the end of the timeline. When you adjust the Photoshop ﬁle in the Program view, Adobe Premiere Pro automati- cally creates new keyframes for each property value that you change. Change the Photoshop ﬁle’s position, scale, and angle in the Program view, using the area in and...
Page 27 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back 6. Adjust the motion path in the Program view. To create more interesting animations, you can adjust the shape of the motion path and change the interpolation method for your keyframes. In the Effect Controls window, move the current-time indicator to the middle of the timeline and click the Add/Remove Keyframe button to add a new Position keyframe.
Page 28 1. Set up the sequences. You’ll need to have at least two sequences to use nesting. An Adobe Premiere Pro project contains one sequence by default, so create a second sequence by clicking the New Item button in the Project window and choosing New Sequence.
Page 29 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back You’ll be nesting the sequence containing clips in the other sequence, which is still empty. You’ll use the other sequence as the master sequence for your video program. 3. Add the sequence of clips to the master sequence.
Page 30 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back 4. Apply the effect. Choose Window > Effects, locate the effect you want to apply, and drag it to the nested sequence in your master sequence. 5. Preview the effect.
Page 31 1. Set the title to roll. In Adobe Premiere Pro, choose File > New > Title to open the Adobe Title Designer. From the Title Type menu, choose Roll. If you intend to create rolling or crawling titles, make the appropriate choice before creating the title.
Page 32 Click the Font Browse button . In the Font Browser dialog box, scroll to ﬁnd a font you want to use and select it. Click OK. Then, in the Object Styles panel of the Adobe Title Designer window, expand the Properties category. Set a font size by dragging. (To ensure readability, use a font size higher than 14 points.)
Page 33 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back The Font Browser is also a great tool for experimenting with fonts: Click a new font in the list, and the font in the drawing area changes accordingly. Use the Font Browser to sample a variety of fonts instantly.
Page 34 Adobe Premiere Pro Help Tutorials Using Help Contents Index Back The Crawl Direction choices in the Roll/Crawl Options dialog box pertain to text you typed in a text box that is longer horizontally than it is vertically. In this instance, text would move left or right across the image, or crawl.
Page 35 Back 9. Experiment with the settings. Double-click the title clip to return to the Adobe Title Designer. Use the Font Browser or the Font Size Object Style to adjust the characters. You may need to resize the text box to accommodate the changes.
Page 36 If you want to add titles, buttons, and other graphic elements to your DVD, you can import your sequence in Adobe Encore DVD or another DVD authoring application. Adobe Premiere Pro allows you to create DVD-ready ﬁles in either Video For Windows format (.AVI) by exporting sequences as movies or in MPEG-2 format (.M2V) by exporting your...
Page 37 Back 4. Deﬁne the length of the DVD movie. Adobe Premiere Pro exports the entire timeline to DVD by default. To prevent the project from exceeding the DVD’s capacity, deﬁne the area of the timeline you want to export by dragging the work area bar.
Page 38 When your DVD burner is done recording, play it on the DVD player in your computer or on a standard DVD player to check the quality. For a wider range of options, you can export your projects to Adobe Encore DVD, where you can add titles, buttons, and multiple audio tracks to your DVDs.
Page 39 Working with Projects About projects A project is a single Adobe Premiere Pro ﬁle that contains video sequences and references to the media associated with the sequences. A project also stores information about sequences and media, such as settings for media capture, transitions, and audio mixing.
Page 40 ﬁle based on its ﬁlename and location at the time you imported it. If you later move, rename, or delete a source ﬁle, Adobe Premiere Pro is unable to ﬁnd it the next time you open the project. In this case, Adobe Premiere Pro displays the Locate File dialog box.
Page 41 Premiere Pro can automatically save your project at a speciﬁed interval. For example, you can set Adobe Premiere Pro to save a copy of your project every 15 minutes, producing a series of ﬁles that represent the state of your project at each interval. Automatic saving serves as an alternative to the Undo command, depending on how much the project changes between each save.
Page 42 Type a number for the Maximum Project Versions to specify how many versions of each • project ﬁle you want to save. For example, if you type 5, Adobe Premiere Pro saves ﬁve versions of each project you open. To open a project ﬁle created by the Auto Save preference: 1 Close the project if one is open.
Page 43 Right-click in the window. Using tabs in windows Some Adobe Premiere Pro windows contain tabs that you can click to view the contents in that window. These tabs can also be dragged away, forming separate windows. In Adobe Premiere Pro, you can combine tabs in the following ways: The Monitor, Timeline, and Audio Mixer windows contain tabs that represent multiple •...
Page 44 Using Help Contents Index Back If a window contains more tabs than Adobe Premiere Pro can display at once, drag the • slider bar that appears above the tabs. Using workspaces Adobe Premiere Pro comes with preset window arrangements that let you reconﬁgure the windows for speciﬁc tasks such as editing effects or audio.
Page 45 To manage project items: Do any of the following: To rename an original source ﬁle on disk, exit Adobe Premiere Pro and rename the ﬁle • on the Windows desktop. The next time you open the project, Adobe Premiere Pro asks you to locate the ﬁle (see...
Page 46 Adobe Premiere Pro Help Working with Projects Using Help Contents Index Back To ﬁnd any item in a project or folder, based on the contents of any column in List view, • choose Edit > Find or click the Find button , specify options, and click Find.
Page 47 Working with Projects Using Help Contents Index Back To organize media types, such as DV captures, Adobe Photoshop still images, and audio • ﬁles. Project window A. Close Project B. Thumbnail viewer C. Set poster frame D. Play thumbnail E. Bins F.
Page 48 Premiere Pro doesn’t directly support libraries, you can open a library. The library converts to a bin when you open it as an Adobe Premiere Pro project. To store a set of clips so that they are available for other projects, simply save a project that contains the clips, and import that project into other projects (see “Importing another project”...
Page 49 Note: If you can’t locate or change a column attribute in the Edit Columns dialog box, the attribute is locked by Adobe Premiere Pro and cannot be changed. For example, you can change the names of columns you added, but not the names of columns built into Adobe Premiere Pro.
Page 50 “Specifying General settings” on page 59). Note: In Adobe Premiere Pro, all durations in any window include the frames speciﬁed by the In point and Out point. For example, setting the In point and Out point to the same frame results in a duration of one frame.
Page 51 Preferences > Label Colors command. Working with palettes Adobe Premiere Pro includes the toolbox, Info and History palettes. When displayed, palettes always appear on top of all windows. The Info palette displays information about the item selected in the Project or Timeline windows, or in the Source view’s clip menu.
Page 52 Each time you apply a change to some part of the project, the new state of that project is added to the palette. You can modify the project from the state you select. History states aren’t available for actions within the Capture and Adobe Title Designer windows.
Page 53 You can also create or edit keyboard shortcuts. Using the default keyboard shortcuts Adobe Premiere Pro provides a set of keyboard shortcuts. You can view and modify them by using the Edit > Keyboard Customization command; see “Customizing keyboard...
Page 54 Note: Some commands are reserved by the operating system and cannot be reassigned to Adobe Premiere Pro. Also, you cannot assign the + (plus) and – (minus) keys on the numeric keypad because they are necessary for entering relative timecode values. You can assign the plus and minus keys on the keyboard, however.
Page 55 Back Using scratch disks When you edit a project, Adobe Premiere Pro uses disk space to store ﬁles required by your project, such as captured video and audio, conformed audio, and preview ﬁles that you create manually or that are created automatically when exporting to certain formats.
Page 56 To specify scratch disks: 1 Choose Edit > Preferences > Scratch Disks. 2 For each scratch disk type, specify a disk location for Adobe Premiere Pro to store the corresponding ﬁles (scratch ﬁles are stored in a subfolder named after the project).
Page 57 ﬁle” on page 296. Timebase Speciﬁes the time divisions Adobe Premiere Pro uses to calculate the time position of each edit. In general, choose 24 for editing motion-picture ﬁlm, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American standard) video.
Page 58 IEEE 1394 standard. Additional capture formats and options may appear if you install other software, such as software included with a capture card certiﬁed to be compatible with Adobe Premiere Pro. To specify capture settings: 1 Choose Project >...
Page 59 Optimize Stills Select this option to use still images efﬁciently in sequences. For example, if a still image has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Deselect this option if sequences exhibit playback problems when displaying still images.
Page 60 Index Back If you have a capture card that is certiﬁed for use with Adobe Premiere Pro and it includes presets for capturing from Adobe Premiere Pro, installing the card’s software also installs the presets for you. Manufacturer-supplied preset ﬁles are tested to work well with the manufacturer’s hardware, so you should not change the settings in them.
Page 61 “Digitizing analog video as DV” on page 94 “Preparing for DV capture” on page If you use multiple hard drives, set up scratch disks before capturing because Adobe Premiere Pro defaults to the My Documents folder for ﬁle storage. See “Using scratch disks” on page 57 “Preparing for DV...
Page 62 “Logging and capturing for experi- enced editors” on page Note: When performing anything other than capturing in Adobe Premiere Pro, close the Capture window. The Capture window assumes primary focus when open, so leaving it open while editing or previewing video disables output to the DV device and may decrease performance.
Page 63 You can capture audio and video to separate drives. Set the locations of new ﬁles by choosing Edit > Preferences > Scratch Disks. If you don’t change the defaults, all ﬁles captured or created by Adobe Premiere Pro are stored in the My Documents folder for the user who is currently logged into Windows XP.
Page 64 Log Clip button, a dialog box appears so that you can accept or change the clip data. In the Clip Data section, specify a Tape Name, because Adobe Premiere Pro asks for it • every time you begin a batch capture.
Page 65 Adobe Premiere Pro’s built-in DV device control. If you’re using DV, you may be able to capture as soon as the device is recognized by Adobe Premiere Pro. If your device isn’t recognized, you may need to set it up.
Page 66 4 In the Device Control Options dialog box, check the status display. If the status is Ofﬂine, Adobe Premiere Pro does not see your device and you need to check all your connections and settings. If the status is Detected, Adobe Premiere Pro sees your device but cannot control the tape (possibly because there is no tape inserted).
Page 67 First you mark In and Out points, and then you capture the clip. If you want to mark In and Out points for many clips and have Adobe Premiere Pro capture all of the clips at once, see “Batch-capturing video”...
Page 68 Capturing clips without using device control If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture video manually. You can manually operate both the playback device controls and the Capture window controls in Adobe Premiere Pro.
Page 69 The log can be created either by logging clips visually using device control or by typing In and Out points manually. In Adobe Premiere Pro, logged clips appear as a set of ofﬂine (placeholder) clips in the Project window or in a bin. In the Project window list view, the Capture Settings column indicates that a clip has speciﬁc capture settings assigned to...
Page 70 In and Out points and click the Log Clip button. You can also log frame numbers using a separate logging or spreadsheet program and then import the spreadsheet into Adobe Premiere Pro as a batch list; see “Importing and exporting batch lists”...
Page 71 Adobe Premiere Pro Help Capturing and Importing Source Clips Using Help Contents Index Back To log clips using device control: 1 Choose File > Capture, and make sure that your device is online as indicated above the preview in the Capture window. If it’s ofﬂine, see “Setting up device control equipment”...
Page 72 By default, the settings Adobe Premiere Pro uses to batch-capture ofﬂine ﬁles are the project’s current capture settings. Ofﬂine ﬁles use capture settings in the following ways: If an ofﬂine ﬁle has its own capture settings, Adobe Premiere Pro uses those settings •...
Page 73 Project window. For efﬁcient capture, Adobe Premiere Pro captures clips from the start of a tape to the end regardless of the order in which you selected the ofﬂine ﬁles. If you select ofﬂine ﬁles to be captured from multiple tapes, Adobe Premiere Pro captures each tape’s clips in one pass,...
Page 74 • necessary, select the clip in the Project window and choose Project > Unlink Media. If you select multiple clips and some are online, Adobe Premiere Pro captures the ofﬂine ﬁles only. Tape Name, Media Start, and Media End must be speciﬁed in the Edit Ofﬂine File dialog •...
Page 75 In point, Out point, clip name, and comment. When you export ofﬂine ﬁles as a batch list, Adobe Premiere Pro orders the ﬁelds as follows: tape name, In point, Out point, clip name, log note, description, scene, and shot/take. Exported ﬁeld data is exported from the corre- sponding columns in the List view of the Project window.
Page 76 145. Using CD audio You can use CD audio (CDA) ﬁles in a project, but before you can import them into Adobe Premiere Pro, you need to convert them to a supported ﬁle format. You can convert CDA ﬁles using an audio application such as Adobe Audition. Once you’ve converted the audio ﬁle to compatible ﬁle format such as WAV, import it using the File >...
Page 77 Higher sample rates and bit depths reproduce sound at higher levels of quality, but with correspondingly larger ﬁle sizes. If you plan to export or play back the ﬁnal cut from Adobe Premiere Pro, capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for ﬁnal export or...
Page 78 A. Record Enable button for track B. Record button for Audio Mixer 4 In the Audio Mixer window, click the Record button for the sequence. Adobe Premiere Pro prepares the sequence for recording but moves the playhead only when you press the Play button.
Page 79 Adobe Premiere Pro. Some formats may require that Apple QuickTime be installed. If you’re using an Adobe application to create a clip for use in Adobe Premiere Pro, turn on the Embed Project Link option in the originating Adobe application so that you can use Adobe Premiere Pro’s Edit Original command to open the clip in the appli-...
Page 80 For best results, create ﬁles with a frame size at least as large as the frame size of the • project, so that you don’t have to scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project.
Page 81 Adobe Premiere Pro. If you want to deﬁne the dimensions of the Adobe Illustrator art when it is rasterized by Adobe Premiere Pro, use Adobe Illustrator to set crop marks in the Adobe Illustrator ﬁle.
Page 82 2 In the Import dialog box, make sure that Photoshop or All Supported Media is selected for Files of Type, and then locate and select a layered Adobe Photoshop ﬁle. 3 In the Import Layered File dialog box that appears, make sure that Footage is selected in the Import As pop-up menu.
Page 83 ﬁles as a single sequence. Importing another project You can add the contents of an existing Adobe Premiere Pro (or earlier version) project to an open project. When you import a project into an open project, the imported project’s clips and sequences are added to the Project window in a bin named after the imported project.
Page 84 Premiere Pro by using the File > Import command. Changing the frame rate of a clip You can use the Interpret Footage command to change the frame rate that Adobe Premiere Pro assumes for a clip. Changing the frame rate changes the original duration proportionally.
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“Media Ofﬂine” message appears in the Program view and in the track. When you use the Capture window to log clips from a tape, Adobe Premiere Pro automat- ically creates ofﬂine ﬁles containing the exact information required to capture the clips later (see “Logging clips as ofﬂine ﬁles for batch capture”...
Page 86: Using Help | Contents | Index Back
4 For File Name, type the name of the ﬁle as you want it to appear on disk when you capture it using Adobe Premiere Pro. If you’re creating an ofﬂine ﬁle for a source ﬁle that is captured but isn’t on your computer yet, type the name of that ﬁle.
Page 87 ﬁlename for the clips you recapture. Analyzing clip properties and data rate Adobe Premiere Pro includes clip analysis tools that you can use to evaluate a ﬁle in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a Web server, you can use clip analysis tools to determine whether a clip you exported has an appropriate data rate for Internet distribution.
Page 88 If you set a capture In point such as 00:00:01:09 but it occurs on the tape two or three times due to timecode restarts, Adobe Premiere Pro can’t be certain which In point is the one you intend to capture. For this reason, discontinuous timecode limits ﬂexibility when batch-capturing or recapturing clips.
Page 89 Note: The Scene Detect feature in Adobe Premiere Pro recognizes the starting and stopping points recorded with the timecode on the original DV tape used to shoot the scenes.
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Digital media stored on tape must be transferred to disk before Adobe Premiere Pro can use it in a project. Adobe Premiere Pro can capture digital video from tape and save it to disk as clips that you can then add to your project.
Page 91 Adobe Premiere Pro. If your computer does not have a built-in IEEE 1394 interface, you can purchase a hardware capture card that provides the interface (see your computer’s documentation).
Page 92: Using Help | Contents | Index Back
If you’re adding analog video to a DV project, you can digitize the analog video as if it were DV. This process adds DV timecode so that you can avoid compatibility problems and batch-capture using device control in Adobe Premiere Pro. There are several ways to convert analog video to DV: Use a DV camcorder with an analog video input, dub the analog tape to DV format tape, •...
Page 93 Widescreen (cinema) DV preset. You’ll also need to set the pixel aspect ratio for each individual clip after importing. If you don’t, Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See “Capturing or importing various aspect ratios”...
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“Using device control” on page Avoiding DV capture problems If you run into problem while capturing DV footage, refer to Adobe Premiere Pro DV capture topics or the documentation for your camera, deck, or capture card, or check the Adobe Web site (www.adobe.com) for technical support. The following are common...
Page 95: Using Help | Contents | Index Back
This complex relationship between video-capture cards and Adobe Premiere Pro can make it difﬁcult to identify which part of the system is responsible for a particular option or problem. Adobe, as well as most...
Page 96 For online editing, you capture clips once at the level of quality required for the ﬁnal version of the video program. This is the default method of working when you use Adobe Premiere Pro to capture and edit video, particularly DV.
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Adobe Premiere Pro automatically attempts to detect and compensate for the pixel aspect ratio of source clips. If a clip appears distorted in Adobe Premiere Pro, you can use Adobe Premiere Pro to manually indicate its pixel aspect ratio.
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(this option is off by default). If you want to change the size of an imported clip in Adobe Premiere Pro and its pixel aspect ratio is correct, select the clip and change the Scale property of the Motion effect.
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Project Settings > General to inspect the project’s aspect ratio. In addition, you can use the File > Interpret Footage command to inspect and change the pixel aspect ratio that Adobe Premiere Pro assumes for individual source clips in the Project window. By ensuring that all ﬁles are interpreted correctly, you can combine footage with different ratios in the same...
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(decreases) the resolution of a ﬁle that does not match the project frame size. Because downsampling results in a higher-quality image, it is best to create ﬁles that are larger than the project’s frame size so that Adobe Premiere Pro does not have to upsample and enlarge the ﬁle.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Assembling a Sequence Using the Monitor window The Monitor window resembles a conventional edit bay’s video monitors and edit controller. The left side of the Monitor window, or Source view, displays source clips; the right side, or Program view, displays the active sequence.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To open a clip in Source view: Do any of the following: Double-click the clip in the Project or Timeline window, or drag a clip from the Project •...
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back This section covers using both views’ controls for cueing and playing back footage. Controls for setting In and Out points and for adding or removing frames from a sequence are covered in “Using Monitor controls to perform three-point or four-point edits”...
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Click the current time display of the view you want to cue, and type the new time. • (You don’t need to type colons or semicolons. However, be aware that Adobe Premiere Pro interprets numbers under 100 as frames.) To go forward one frame, click the Frame Forward button .
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back The full duration of a clip or sequence is represented graphically by its respective time ruler. Tick marks and numeric labels measure time using the counting method speciﬁed in the Project Settings (although you can toggle the program time ruler to display audio samples;...
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Customizing the Monitor window By default, the Monitor window is set to Dual View, so that it includes a Source view on the left, and a Program view on the right. For certain editing tasks, you may want to optimize the workspace by setting the Monitor window to Single View.
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All Quality settings use a bilinear pixel resampling method to resize the video image and do not process interlaced ﬁelds, if present. For exporting a sequence, however, Adobe Premiere Pro uses a cubic resampling method (which is superior to bilinear) and processes ﬁelds.
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In order to faithfully digitize or reproduce video, postproduction and duplication facilities use hardware devices called waveform monitors and vectorscopes. Similarly, you can use the Adobe Premiere Pro software vectorscope and waveform monitor to accurately evaluate video levels—speciﬁcally, color and brightness. These instruments not only help you output a video program that meets broadcast standards but also assist you in making adjustments based on aesthetic considerations, such as color corrections.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back A waveform monitor is useful in measuring the brightness, or luminance component, of a video signal. The waveform monitor works something like a graph. The horizontal axis of the monitor corresponds to the video image.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back You can cue the frame of a sequence displayed in the reference monitor independently from the Program view. This way, you can cue each view to a different frame for comparison—to use the color matching ﬁlter, for example.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Using the Timeline window Whereas the Program view of the Monitor window displays a sequence as it will appear on a video monitor, the Timeline window represents a sequence graphically, showing placement of clips in a horizontal timeline of video and audio tracks.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To toggle the time ruler display between frames and audio samples: In the sequence pop-up menu, choose Audio Units to make the time ruler display audio samples. Choose Audio Units again to return the ruler to counting video frames.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Resizing Tracks You can resize the width of the track header area to accommodate long track names and resize the height of expanded tracks to better view icons or control keyframes.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Locking and unlocking tracks Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In the Timeline window, a pattern of slashes appears over a locked track.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To specify the type of audio track you want to add, choose an option from the Track • Type pop-up menu for audio and audio submix tracks. (For more about audio channel types, see “About audio channels and tracks”...
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back At the bottom left of the Timeline window, zoom controls also let you change the scale of the time ruler and view the sequence in more or less detail.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back In the Timeline window, drag the ends of the viewing area bar farther apart. • Dragging the ends of the viewing area bar closer together to zoom into the time ruler...
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To set In and Out points in the sequence, click the Program view. • 2 Do one of the following: To mark an In point, go to the frame you want, and then click the Set In button .
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Setting In and Out points for split edits Ordinarily, you set one In point and one Out point for a source clip. Even if it’s a linked clip—a clip containing video and audio tracks—In and Out points apply to both tracks of the clip.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To use audio samples in the Timeline window: 1 In the Timeline window’s pop-up menu, choose Audio Units. The time rulers in the Timeline window and Program view switch from a frame-based to a sample-based scale.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Working with markers is much the same as working with In and Out points; however, markers are only for reference and do not alter the video (except for markers set up as Web links).
Page 122: Using Help | Contents | Index Back
Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back To add a numbered or unnumbered marker: 1 Do one of the following: To set a clip marker, open a clip in source view. • To set a sequence marker, select the Program view or Timeline window.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Dragging beyond either edge of a time ruler scrolls the time ruler. As usual, scrolling the Program window’s time ruler doesn’t affect the view of the sequence in the Timeline window, or vice versa.
Page 124: To Save A Project Using Help | Contents | Index Back
By typing a Uniform Resource Locator (URL) under Web Links in the Marker dialog box, you create an automatic link to that site at the marker’s location in the sequence. Adobe Premiere Pro embeds this information within movies. When these movies are included in...
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back About insert and overlay edits Whether you drag clips or use Monitor window controls, you can choose to perform an insert edit or overlay edit. In an insert edit, adding a clip to the sequence forces any clips later in time to shift forward to accommodate the new clip.
Page 126 Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back You can specify the source tracks you want to use in the Source view of the Monitor window. The Take Video/Take Audio button toggles between three states: the Take Video button , the Take Audio button , and the Take Video and Audio button .
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back Dragging clips into a sequence The most direct and intuitive way to assemble clips into a sequence is by dragging them from the Project window or Source view to the appropriate track in the Timeline window.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back appears with the Insert icon . Arrows appear at the insertion point only in the tracks to which the clip is added. Dragging performs an overlay edit, as indicated by the Overlay icon.
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(for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Adobe Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip.
Page 130: To Delete One Or More Bins To Move An Item Into A Bin To Display The Contents Of A Bin Using Help | Contents | Index Back
Source and Program are critical. If the marked source and program durations are different, Adobe Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it.
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Ordering Speciﬁes the method used to determine the order of the clips when they are added to the sequence. If you choose Sort Order, Adobe Premiere Pro adds clips in the order they’re listed in the Project window: from top to bottom in List view; or from left to right, top to bottom in Icon view.
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OK. Working with multiple sequences and nested sequences Adobe Premiere Pro not only allows you to create multiple sequences in a single project but also permits you to nest sequences inside other sequences. In other words, an entire sequence of clips can act as a single clip in another sequence within the same project.
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Adobe Premiere Pro Help Assembling a Sequence Using Help Contents Index Back 2 In the New Sequence dialog box, specify the following options: For Sequence Name, enter a descriptive name for the sequence. • For Video, type the number of video tracks you want the sequence to contain, or click •...
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Because nested sequences can contain references to many clips, actions involving a • nested sequence may require additional processing time as Adobe Premiere Pro applies the actions to all of its component clips. A nested sequence always represents the current state of its source. Changing the •...
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back Editing a Sequence Overview Typically, the ﬁrst iteration of a sequence is a relatively crude draft version, or rough cut. In the next stage of editing, you can focus on ﬁne-tuning the clips in the sequence. You will continue to use the controls in the Source and Program view not only to add to the sequence, but to remove portions as well.
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back To add or subtract a range of clips in the current selection, Shift-drag a marquee around • clips. Shift-dragging a marquee that includes unselected clips adds them to the current selection.
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When you change the speed of a clip containing interlaced ﬁelds, you may need to adjust how Adobe Premiere Pro treats the ﬁelds, especially when the speed drops below 100% of the original speed. See “Processing interlaced video ﬁelds”...
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back you are making the clip longer, the source clip must contain enough additional frames beyond its source In or Out point to accommodate the adjustment. Note: If you want to trim a clip edge that’s already adjacent to another clip, use the methods described in “Trimming clips in the Timeline window”...
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When you split a clip, Adobe Premiere Pro creates a new instance of the clip and any clips to which it is linked. By Alt-clicking with the razor, you can split only the audio or video portion of linked clips.
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[V] and [A] labels. Even so, Adobe Premiere Pro keeps track of the link. If you relink the clips, they indicate whether they have been moved out of sync, and by how much. You can have Adobe Premiere Pro automati- cally resynchronize the clips.
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(click) the clip to edit it as a linked clip again. Finding the source of a clip Adobe Premiere Pro can quickly ﬁnd the source of any clip in a sequence and automati- cally select it in the Project window.
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“Specifying project settings” on page 58). If you speciﬁed No Fields, Adobe Premiere Pro keeps the upper ﬁeld unless you selected Reverse Field Dominance, in which case it keeps the lower ﬁeld. This option is useful when freezing a frame in the clip.
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back 4 Select Frame Blend Speed Changes to improve the appearance of video when the clip’s speed is not 100% by blending frames together. 5 Click OK. Removing parts of a sequence You can delete gaps between tracks in the Timeline window, and you can use controls in the Program view of the Monitor window to remove a speciﬁed range.
Page 144 This shifts the video and audio out of sync, however.) Note: Adobe Premiere 6.5 or earlier don’t allow you to drag a clip to an occupied part of a track. Adobe Premiere Pro allows you to drag a clip over another clip to perform insert and overlay edits (see “Editing clips in the Timeline window”...
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back 2 Drag the edge of a clip close to the edge of another clip or a marker or the current-time indicator. A vertical line appears when alignment occurs.
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Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back Performing insert and overlay edits in the Timeline window When dragging clips in time, you often move them to an unoccupied track, or align them to an adjacent clip (see “Moving clips in a sequence”...
Page 147 Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back Note: To trim only one track of a linked clip, press Alt as you click with a Trim icon. You do not need to hold down the Alt key once you initiate the trim.
Page 148: To Log Clips Interactively 3 Play The Tape Using Help | Contents | Index Back
Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This effectively moves the edit point between clips, preserving other clips’...
Page 149: Note: The Capabilities Of Device Control Vary Depending On The Brand And Model Of Device To Set Up The Capture Device For Device Control 1 Open The Device Control Preferences Dialog Box By Doing One Of The Following 2 Select Dv Device Control From The Dev
Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back 2 Drag left or right from the edge of the clip you want to change. The same number of frames added to the clip are trimmed from the adjacent clip. (Alt-drag to affect only the video or audio portion of a linked clip.)
Page 150 Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back Trimming using slip and slide edits Just as ripple and rolling edits allow you to adjust a cut between two clips, the slip and slide edit tools are useful when you want to adjust two cuts in a sequence of three clips.
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Drag right to move the In and Out points later in the clip. • Adobe Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program view and maintaining the clip and sequence duration.
Page 152 Adobe Premiere Pro Help Editing a Sequence Using Help Contents Index Back Using the Trim window Whereas you can accomplish most editing tasks in the Monitor and Timeline windows, ﬁne-tuning the cut point between clips is most effective in the Trim window. The Trim window is similar to the Monitor window but is actually a separate window with specialized controls.
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Adobe Premiere Pro’s Real-Time Preview capability renders the frames of the sequence on the ﬂy, so that in most cases, previewing simply involves playing the sequence using any of the controls in the Program view or Timeline window. Adobe Premiere Pro’s Real-Time Preview supports all Adobe Premiere Pro effects, transitions, transparencies, motion settings, and titles.
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ﬁle. This renders the segment as a new ﬁle on the hard drive, which Adobe Premiere Pro can play at the project’s full frame rate. In the timeline, rendered areas are marked with a green line.
Page 155 If you’re editing a DV project, you can preview the sequence on a television monitor via your IEEE 1394 connection and DV camcorder or VCR. You can set up this option using Adobe Premiere Pro’s built-in settings. Using Help Contents...
Page 156 When you render previews, Adobe Premiere Pro creates ﬁles on your hard disk. These preview ﬁles contain the results of any effects that Adobe Premiere Pro processed during a preview. If you preview the same work area more than once without making any changes, Adobe Premiere Pro instantly plays back the preview ﬁles instead of processing the...
Page 157 The disk you choose must be large and fast enough to support video playback, so choose a hard disk attached to your computer, not a network drive. Also, because Adobe Premiere Pro must be able to locate the preview ﬁles when you open a project, avoid specifying removable media.
Page 158 While you can manually drag transitions to the timeline, you can instantly apply the default transition between clips by using the Apply Video Transition or Apply Audio Transition command. By default, Adobe Premiere Pro uses Cross Dissolve as the default video transition and Constant Power as the default audio transition. Default transition icons are marked by a red outline in the Effects window.
Page 159 Similarly, insufﬁcient handles can limit a transition’s duration, causing it to be shorter than the default. If neither clip contains handles, Adobe Premiere Pro warns that the last frame of the ﬁrst clip or the ﬁrst frame of the second clip will be repeated to ﬁll the transition duration.
Page 160 Adobe Premiere Pro Help Adding Transitions Using Help Contents Index Back 4 To preview the transition, play back the timeline or drag the current-time indicator through the transition. Adjusting transition alignment At any time, you can adjust how a transition aligns to the edit point. You can align transi- tions in the Timeline window by dragging;...
Page 161 Adobe Premiere Pro Help Adding Transitions Using Help Contents Index Back Changing transition duration You can edit a transition’s duration in the Timeline window by dragging either end of the transition; you can edit the duration in the Effect Controls window by dragging or by changing the Duration value.
Page 162 Adobe Premiere Pro Help Adding Transitions Using Help Contents Index Back Changing transition settings You can use the Effect Controls window to change settings for a transition in the timeline, including the center point, the start and end values, the border, and anti-aliasing quality setting.
Page 163 Adobe Premiere Pro Help Adding Transitions Using Help Contents Index Back 2 In the Effect Controls window, adjust settings. (See “Transition settings” on page 167.) To reposition the center of a transition: 1 In the Timeline window, select a transition that has a center.
Page 164 2 In the Effect Controls window, click the Custom button, specify options, and click OK. Using the Gradient Wipe transition Adobe Premiere Pro can use any importable grayscale image as a gradient wipe. In a 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 165 Adobe Premiere Pro Help Adding Transitions Using Help Contents Index Back 5 Click OK. To preview the transition, drag the current-time indicator through the transition in the timeline. Result of the Gradient Wipe transition on a clip To edit a Gradient Wipe transition: 1 Double-click the transition in the timeline.
Page 166 Back About clip handles and transitions Adobe Premiere Pro creates a transition by using the handles at the beginning or end of a clip, if available. Handles are the captured frames outside a clip’s In and Out points. The handle between a clip’s Media Start time and In point is sometimes called head material, and the handle between a clip’s Out point and Media End time is sometimes called tail...
Page 167 Audio Mixer window. Planning your audio workﬂow You can edit, add effects to, and mix mono, stereo, or 5.1 surround audio tracks in Adobe Premiere Pro. You can control volume and pan/balance settings of audio tracks directly within the Timeline window, or use the Audio Mixer window to make changes in real time.
Page 168 Values applied at all of these levels will be combined for the ﬁnal mix. To help you view and edit the audio settings of any clip or track, Adobe Premiere Pro provides multiple views of the same audio data.
Page 169 Back Understanding how Adobe Premiere Pro applies audio settings When you import video or audio, Adobe Premiere Pro ﬁrst conforms its audio to the audio settings speciﬁed in the New Project dialog box when the project was created; see “Conforming audio” on page 192.
Page 170 • displays and controls), choose Master Meters Only. To display hardware input levels on the VU meters (not track levels in Adobe Premiere • Pro), choose Meter Input(s) Only. When this option is on, you can still monitor audio in Adobe Premiere Pro for all tracks that aren’t being recorded.
Page 171 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back To display time in audio units instead of video frames, choose Audio Units. You can • specify whether to view audio units or milliseconds by changing the Display Format option in the Project >...
Page 172 Click Normalize to have Adobe Premiere Pro optimize gain automatically. Clicking • Normalize changes the displayed value to indicate the amount of gain Adobe Premiere Pro automatically applies to reach maximum gain without clipping. If a clip has no volume keyframes set, you can also adjust overall gain for a selected clip by using the Volume property in the Effect Controls window.
Page 173 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back To add an audio transition other than the default, expand the Audio Transitions bin in • the Effects window and drag the audio transition to the Timeline window on the edit point between the two clips you want to cross-fade.
Page 174 When you output a stereo track to a stereo or 5.1 surround track, you can balance it. • When the output track contains fewer channels, Adobe Premiere Pro downmixes the • audio to ﬁt it within the smaller number of channels. See “Downmixing to fewer...
Page 175 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back While the master audio track is the default output track, a sequence can also include submix tracks (see “Working with submixes” on page 187). Submix tracks can be both an output destination of other audio tracks and an audio source to the master track (or other submix tracks).
Page 176 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back You can vary the pan setting over time in the Audio Mixer window (see “Automating audio changes in the Audio Mixer window” on page 190), or in the Timeline window by applying keyframes to a track’s Panner property (see...
Page 177 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back 3 Click the pop-up menu at the top left corner of the track; then choose Panner > Balance or Panner > Pan. (For 5.1 surround audio, choose the dimension you want to edit from the Panner menu.)
Page 178 Input/Output Device Determines which connected audio device is routed into and out of Adobe Premiere Pro. For a device to be available, an up-to-date driver must be properly installed in Windows. In addition, if you want to input more than two stereo channels or monitor 5.1 surround audio, the device driver must comply with the ASIO (Audio Stream...
Page 179 ASIO Settings Speciﬁes the ASIO settings for the selected device. The settings in this dialog are provided by the device and driver you are using, not by Adobe Premiere Pro. See the documentation for the ASIO device and driver you are using.
Page 180 The effects list contains ﬁve pop-up menus you can use to apply up to ﬁve track effects. Adobe Premiere Pro processes effects in the order they are listed and feeds the result of an effect into the next effect in the list;...
Page 181 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back To edit track effect settings in the Audio Mixer window: 1 Make sure that the effect you want to edit is selected in the Effects list. 2 If needed, choose the effect property you want to edit from the pop-up menu at the bottom of the effects/sends panel.
Page 182 If you previously installed a VST-compatible application other than Adobe Premiere Pro, Adobe Premiere Pro ﬁnds VST effects in the VST folder that already exists. If no other VST- compatible applications are installed, Adobe Premiere Pro creates a folder called VST in the Program Files folder.
Page 183 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back Working with submixes A submix is a track that combines audio signals routed to it from speciﬁc audio tracks or track sends in the same sequence. A submix is an intermediate step between audio tracks and the master track.
Page 184 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back To route a track’s output to a submix: In the Audio Mixer window, select the submix name from the track output menu at the bottom of the track. Using sends Each track contains ﬁve sends, located in the sends list in the Audio Mixer window.
Page 185 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back To create a new submix and send to it, choose Create Mono Submix, Create Stereo • Submix, or Create 5.1 Submix from any of the ﬁve track send assignment pop-up menus in the sends list in the Audio Mixer window.
Page 186 Choose None from the Send Assignment pop-up menu. Downmixing to fewer channels Whenever you route track output to a track or device with fewer channels, Adobe Premiere Pro must downmix the audio to the number of channels in the destination track.
Page 187 Adobe Premiere Pro Help Mixing Audio Using Help Contents Index Back Read Reads the track’s automation settings and uses them to control the track during playback. If a track has no settings, adjusting a track option (such as volume) affects the entire track uniformly.
Page 188 • decrease system performance as audio is being conformed. When audio is being conformed, you see a progress bar at the lower right corner of the Adobe Premiere Pro application window. Full performance is restored when conforming is complete, and the conformed audio allows instantaneous audio playback.
Page 189 Timeline window. You can work with more than one open Adobe Title Designer window at a time, and use a title in more than one project. New titles saved from the Adobe Title Designer appear in the active bin in the Project window.
Page 190 1 Choose File > Import. 2 Select a title and click Open. Note: Adobe Title Designer opens titles that have a .PRTL extension as well as titles created in Adobe Premiere 6.0 or earlier that have a .PTL extension; the latter are automatically resaved with a .PRTL extension.
Page 191 Timeline window and update the timecode to reﬂect the frame’s location on the timeline. If you add new footage to the Timeline window at the targeted time, the Adobe Title Designer displays the new footage. To show a frame of video behind the title: In the Adobe Title Designer window, select Show Video.
Page 192 To preview titles on an external monitor: In the Adobe Title Designer, click the Send Frame To External Monitor button . Understanding title-safe and action-safe margins The title-safe and action-safe margins in the Adobe Title Designer drawing area designate the title’s visible safe zones.
Page 193 Back Creating new titles with text and graphics Use the Adobe Title Designer to create text and graphic titles with a variety of attributes. You can use any vector font resident on your system, including Type 1 (PostScript), OpenType, and TrueType fonts. Use the drawing tools to create any shape—simple or complex.
Page 194 6 When you are ﬁnished, select the selection tool and click outside of the text box area. Selecting and moving text Controls in the Adobe Title Designer make it easy to select and move your text. To select a text box: Using the selection tool, click a text box.
Page 195 217. Creating objects with the drawing tools In addition to creating text objects, you can also use the drawing tools in the Adobe Title Designer to create a variety of shapes such as rectangles, polygons, and ellipses. To create a shape using the drawing tools: 1 Select a drawing tool.
Page 196 Working with the pen tool The Adobe Title Designer includes standard pen tools that resemble those used in graphic design applications such as Adobe Illustrator and Adobe Photoshop. Use the pen tools to create an object of any shape, including straight lines at any angle or smooth ﬂowing curves.
Page 197 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help Contents Index Back Drawing curved segments with the pen tool Draw curved segments by dragging the anchor points with the pen tool. Before you draw and modify curved segments with the pen tool, it’s important to understand two elements that are associated with anchor points on curves.
Page 198 3 Drag the point in the straight segment where you want to create a curve. Working with points and curves The Adobe Title Designer includes tools for modifying existing paths. You can add anchor points and control points to paths and adjust the points as needed.
Page 199 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help Contents Index Back To add an anchor point to a path: 1 Select the path. 2 Select the add anchor point tool . 3 Do one of the following: To add an anchor point without creating or manually adjusting a curve, click where you •...
Page 200 210. To place a logo in a title: 1 Choose Title > Logo > Insert Logo. The Adobe Title Designer imports the logo at the size it was created. 2 Drag the logo to where you want it. If necessary, you can adjust the size, opacity, rotation, and scale of the logo.
Page 201 To adjust various global properties of the objects, either drag their control points in the drawing area, use the controls in the Transform section of the Adobe Title Designer, or choose a command from the Title menu.
Page 202 Adobe Premiere Pro Help Using the Adobe Title Designer Using Help Contents Index Back In the Transform section, adjust the X Position value to reposition the object or objects • along the speciﬁed x axis, or adjust the Y Position value to reposition the object or objects along the speciﬁed y axis.
Page 203 Back Using object styles With the Adobe Title Designer, you can apply a custom style to each object or group of objects you create. Styles can consist of any variation of any properties you add to your objects. These properties include strokes, ﬁlls, sheens, textures, shadows, as well as font types.
Page 204 To change an object style for a graphic: 1 Select the graphic object you want to modify. 2 In the Object Style section of the Adobe Title Designer, click the arrow next to Properties, and set any of the following options: Graphic Type Speciﬁes the shape of the graphic.
Page 205 You can ﬁll any object you create with colors and textures, as well as adjust the ﬁll opacity, sheen, and type. Changing ﬁlls The Adobe Title Designer includes many options for designing a variety of ﬁlls for your objects. To change a ﬁll for an object: 1 Select the object you want to ﬁll.
Page 206 3 Click the triangle next to Sheen and set options as desired. Loading textures You can map a texture to any object in the Adobe Title Designer. To add a texture, specify a vector or bitmap ﬁle of your choosing (for example, an Adobe Photoshop ﬁle), or use one of several textures included with Adobe Premiere Pro.
Page 207 Deselect the Sheen or Texture option. Creating strokes The Adobe Title Designer gives you great ﬂexibility in adding an outline, or stroke, to your objects. You can add both inner strokes and outer strokes. Inner strokes are outlines along the inner edge of your objects, and outer strokes are outlines along the outer edge. You can add up to 12 strokes to your objects.
Page 208 In the Object Style menu, choose either Add Inner Stroke or Add Outer Stroke. • Creating shadows Add drop shadows to any object you create in the Adobe Title Designer. The various shadow options give you full control over color, size, angle, spread, distance, and opacity. To create a shadow: 1 Select an object.
Page 209 By default, Adobe Premiere Pro stores all saved styles in style libraries. When you save a style library, you are saving the entire set of styles that are displayed in the current Adobe Title Designer window. These are saved as .PRSL ﬁles in the Premiere Pro/Presets/Styles folder.
Page 210 1 In the Styles section, select the style you want to set as the default style. 2 Choose Set Style As Default from the Styles menu. The Adobe Title Designer applies this style to each object you create from this point and retains the setting when you save the title.
Page 211 1 In the Styles section, choose Save Style Library from the Styles menu. All styles visible in the Styles section are saved. 2 Specify a name and location for the style library ﬁle and click Save. Adobe Premiere Pro saves style library ﬁles with the .PRSL (Adobe Title Designer Style Library) extension.
Page 212 Post-Roll Speciﬁes the number of frames that play after the scroll completes. Left to Right, Right to Left Speciﬁes the direction in which the crawl moves. To scroll a roll or crawl in the Adobe Title Designer: Drag the horizontal or vertical scroll bar bordering the drawing area.
Page 213 Back Using tabs Similar to a standard word processor, the Adobe Title Designer uses tabs to assist in text alignment and justiﬁcation. When you create credits, especially rolling credits, tabs can help display the credits in professionally aligned and justiﬁed columns. You can set multiple tabs for any text object in the Adobe Title Designer.
Page 214 Back Adding a title to a project When you’ve completed and saved a title, Adobe Premiere Pro automatically adds it to the open Project window. The title becomes a clip in the project, using the original title ﬁle as its source.
Page 215 Adobe Premiere Pro refers to transparent areas using the following terms: Alpha channel A channel that deﬁnes transparent areas for the clip that contains the channel.
Page 216 Because the transparency is stored with the ﬁle, by default Adobe Premiere Pro preserves and displays the clip with trans- parency in all sequences where you use the ﬁle as a clip.
Page 217 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back Invert Alpha Channel Reverses the light and dark areas of the alpha channel, which reverses the transparent and opaque areas. If you have difﬁculty identifying which parts of a clip are transparent, choose Alpha from the Program view menu in the Monitor window.
Page 218 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back 3 Position the pen tool over the white opacity graph line for the clip, and drag up or down. If no keyframes exist on the graph, the graph appears as a straight horizontal line across the entire track.
Page 219 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back The segments connecting keyframes form a graph that indicates changes in keyframe values along the duration of the clip or track. Adjusting keyframes and segments changes the shape of the graph.
Page 220 Add a keyframe, and then change its value in the Timeline window. (See “Specifying • keyframe values in the Timeline window” on page 225.) In the Effect Controls window, change the value of the property. Adobe Premiere Pro • automatically adds a keyframe. (See “Activating keyframes” on page 246.) 7 Repeat steps 4 and 5 as many times as you want to add more keyframes.
Page 221 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back With the pen tool, drag a marquee around the keyframes to select contiguous • keyframes. Shift-drag to add more keyframes to an existing selection. Specifying keyframe values in the Timeline window You can use the selection and pen tools to edit keyframes in the Timeline window.
Page 222 If the current-time indicator is positioned within a selected clip, keyframes are pasted in • that clip. If audio keyframes are cut or copied, Adobe Premiere Pro pastes in the ﬁrst track where • it ﬁnds a corresponding effect property, looking ﬁrst at a sequence’s audio tracks, then its submix tracks, and then the master track.
Page 223 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back Using keys You can apply keys that deﬁne transparent areas based on values such as color or brightness that exist within a clip. Use color-based keys for knocking out a background, brightness keys for adding texture or special effects, alpha channel keys to modify a clip’s...
Page 224 Cutoff Darkens or lightens shadows. Drag to the right to darken shadows, but do not drag beyond the Threshold slider; doing so inverts gray and transparent pixels. Smoothing Speciﬁes the amount of anti-aliasing that Adobe Premiere Pro applies to the boundary between transparent and opaque regions. Anti-aliasing blends pixels to produce softer, smoother edges.
Page 225 Contents Index Back Smoothing Speciﬁes the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles.
Page 226 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back Using the Multiply and Screen keys The Multiply and Screen keys use an underlying image as a map to determine what part of the keyed image to make transparent. The Multiply key creates transparency in the areas of the image that correspond to the bright areas in the underlying image.
Page 227 Similarity Broadens or reduces the range of color that will be made transparent. Higher values increase the range. Smoothing Speciﬁes the amount of anti-aliasing (softening) that Adobe Premiere Pro applies to the boundary between transparent and opaque regions. Choose None to produce sharp edges, with no anti-aliasing.
Page 228 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 Adobe Photoshop to create a grayscale image and import it • into Adobe Premiere Pro.
Page 229 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back Reverse Inverts the values of the track matte. To retain the original colors in the superimposed clip, use a grayscale image for the matte. Any color in the matte removes the same level of color from the superimposed clip.
Page 230 Adobe Premiere Pro Help Superimposing and Compositing Using Help Contents Index Back 4 Type a name for the matte, as you want it to appear in the Project window. Then click Brightly colored mattes can serve as temporary backgrounds to help you see trans- parency more clearly while you adjust a key effect.
Page 231 Applying Effects Introduction Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute. For example, an effect can alter the exposure or color of footage, manipulate sound, distort images, or add artistic effects.
Page 232 Motion, use the Program view of the Monitor window to manipulate the clip. Adobe Premiere Pro renders Fixed effects after any Standard effects that are applied to the clip. Standard effects are rendered in the order in which they appear, top down. You can change the order of Standard effects anytime by dragging them to a new position in the Effect Controls window, but you can’t move Fixed effects.
Page 233 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back The Effect Controls window includes a timeline, current-time indicator, zoom controls, and a navigator area similar to those found in the Program view and Timeline window. When a clip is selected in the Timeline window, the Effect Controls window automatically adjusts the zoom level so that icons for the clip’s In and Out points are centered in the timeline.
Page 234 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back To expand or collapse an effect or property: Click the triangle to the left of an effect or property name to expand or collapse it. Expanding a heading (such as Motion) reveals properties associated with that effect;...
Page 235 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Expand the property by clicking the triangle next to the property name (if available), • and then drag the slider or angle control (depending on the property). To set a color value: Do one of the following: Click the color swatch, select a color in the Color dialog box, and then click OK.
Page 236 By default, a clip appears at 100% of its original size in the center of the Program view. Position, scale, and rotation values are calculated from the anchor point, which lies at the clip’s center. Adobe Premiere Pro continuously rasterizes scaled EPS ﬁles to prevent pixelization.
Page 237 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back To scale proportionally, Shift-drag any handle. • Note: Scaling video and low-resolution images over 100% can make them look blocky or pixelated. To adjust a clip’s rotation: 1 In the Effect Controls window, select the Motion effect.
Page 238 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Working with the Effects window Standard effects are listed in the Effects window and are organized into two main bins, Video Effects and Audio Effects. Within each bin, effects are grouped by type in nested bins.
Page 239 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Working with Standard effects You can apply any number or combination of Standard effects to any clip in a sequence. Though some effects (such as, Black & White) produce a single outcome, most effects have one or more adjustable variables.
Page 240 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back To remove multiple effects applied to a clip: 1 In the Effect controls window, select the clip from which you want to remove all effects. 2 Do one of the following: Shift-click one or more of the effects, and then press Delete or Backspace.
Page 241 ﬁrst with no blur, the second with the maximum amount of blur, and the third with no blur. Because Adobe Premiere Pro automatically interpolates the blur values between each keyframe, the blur gradually increases between the ﬁrst and second keyframes and then gradually decreases between the second and...
Page 242 While you use the Toggle Animation button to activate the keyframing process, you must use other tools to create additional keyframes. Adobe Premiere Pro creates keyframes automatically when you change the current time and property value. You can also create keyframes manually by using the Add/Remove Keyframe button.
Page 243 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back time. You cannot restore deleted keyframes by reactivating the Toggle Animation button. If you accidentally delete keyframes, choose Edit > Undo. Navigating and selecting keyframes After you activate keyframes for a property, the keyframe navigator appears, which allows you to move the current-time indicator from one keyframe to the next to adjust property values.
Page 244 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back To select a keyframe: Click the Keyframe icon. To select multiple keyframes: Shift-click to select multiple contiguous or noncontiguous keyframes. To select all keyframes for a property: In the Effect Controls window, click the layer property name. For example, click Position to select all the Position keyframes for a layer.
Page 245 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Select another clip, expand the appropriate property in the Effect Controls window, • move the current-time indicator to where you want the ﬁrst keyframe to appear, and choose Edit > Paste.
Page 246 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back 2 Using the Zoom In control, magnify the clip so that the effect pop-up menu appears. 3 Click the effect pop-up menu, and choose the effect property that contains keyframes.
Page 247 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back When you change the interpolation method for a keyframe, you may not notice a signif- icant difference if the rate of change is low between that keyframe and neighboring keyframes.
Page 248 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back When you animate a clip’s position, the clip’s motion is represented by a motion path in the Program view. Small white Xs represent keyframed positions, dotted lines represent positions at interpolated frames, and the circular anchor point symbol represents the center of the clip at the current frame.
Page 249 You can use effects to adjust the color of your clips to meet broadcast requirements or to match color from scene to scene. Adobe Premiere Pro includes two effects that allow you to easily correct color in video clips in either YUV or RGB color space. The Color Corrector effect combines several different color correction tools that allow you to adjust the black- and-white balance and color and limit chrominance and luminance values.
Page 250 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Using the Color Corrector effect Use the Color Corrector effect to adjust black levels, white levels, and color values for broadcast. If you need to make only minor adjustments to the chrominance and luminance values, you can use the Color Corrector’s Limiter control to set the minimum...
Page 251 Adobe Premiere Pro provides support for the Steinberg VST (Virtual Studio Technology) audio plug-in format so that you can add audio effects from third-party vendors. Adobe Premiere Pro also includes 17 VST plug-ins, available in both the Audio Mixer window and the Effect Controls window.
Page 252 For example, many Adobe After Effects plug-ins can be copied into the Adobe Premiere Pro Plug-ins folder to use in your video work. However, Adobe supports only plug-ins that are installed with the application.
Page 253 Index Back Any effect is available to Adobe Premiere Pro when its plug-in ﬁle is present in the Plug-ins folder, which is in the Adobe Premiere Pro folder by default. If you purchased additional effects, purchased Adobe Premiere Pro as part of a hardware package, or removed ﬁles from the Plug-ins folder, you may have a different set of effects than those described in Adobe Premiere Pro Help.
Page 254 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Basic 3D The Basic 3D effect manipulates a clip in an imaginary three-dimensional space. You can rotate your image around horizontal and vertical axes and move it toward or away from you.
Page 255 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Width Speciﬁes the wave width. Bevel Alpha The Bevel Alpha effect adds a beveled edge and lights to the alpha boundaries of an image, often giving two-dimensional elements a three-dimensional appearance. (If the clip has no alpha channel or its alpha channel is completely opaque, the effect is applied to the edges of the clip.) The edge created in this effect is somewhat softer than that of the...
Page 256 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back To achieve the same IRE level as an image with reduced luminance, reducing saturation requires greater amplitude modiﬁcation, which alters the image more. Key Out Unsafe and Key Out Safe make it easier for you to determine which portions of the image will be affected by the Broadcast Colors effect at the current settings.
Page 257 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Focal length Changes the focal length of the camera lens. Shorter lengths provide wider views, whereas longer focal lengths provide narrower but closer views. Distance Sets the distance between the camera and the center of the clip.
Page 258 Use this effect to trim away noise and pixel skew that may result from overscanning during digitizing. If you want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Crop effect instead of the Clip effect.
Page 259 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Tonal Range Deﬁnition Changes the highlights, midtones, or shadows while leaving the other areas uncorrected. Select Preview to view the result. HSL Hue Offsets Adjusts hue, saturation, and brightness of shadows, midtones, and highlights with graphical color wheels.
Page 260 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Method Provides options for adjusting out-of-limit colors. Reduce Saturation tends to wash out colors that are limited. Reduce Luma preserves colors but can make them muddy if overly corrected. Smart Limit limits colors while best preserving their appearance.
Page 261 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back 3 To reverse the effect, so that all colors except the speciﬁed color are preserved, select the Reverse option. Color Replace The Color Replace effect replaces all occurrences of a selected color with a new color, preserving any gray levels.
Page 262 Use the slider controls to crop each edge of the clip separately. You can crop by pixels or image percentage. If you don’t want Adobe Premiere Pro to automatically resize the trimmed clip to its original dimensions, use the Clip effect instead of the Crop effect.
Page 263 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Direction Speciﬁes the direction of the blur. The blur is applied equally around a pixel’s center; therefore, a setting of 180˚ and a setting of 0˚ look the same.
Page 264 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Echo Operator Speciﬁes the operations to be performed between echoes. Add combines the echoes by adding their pixel values. If the starting intensity is too high, this mode can quickly overload and produce streaks of white.
Page 265 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Facet The Facet effect clumps pixels of similar color values in cells for a painterly effect. Keyframes cannot be applied to this effect. Fast Blur Use the Fast Blur effect to specify how much to blur an image. You can specify that the blur is horizontal, vertical, or both.
Page 266 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Green Screen Key The Green Screen Key effect keys out all image pixels that are similar to a standard green- screen, so that they become transparent. Horizontal Flip The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
Page 267 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Flare Center Speciﬁes a location for the center of the ﬂare. Lense Type Selects the type of lens to simulate. Levels The Levels effect manipulates the brightness and contrast of a clip. It combines the functions of the Color Balance, Gamma Correction, Brightness &...
Page 268 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Branch Angle Speciﬁes the size of the angle between a branch and the main lightning bolt. Branch Seg. Length Speciﬁes the length of each branch segment as a fraction of the average length of the segments in the lightning bolt.
Page 269 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Luma Key The Luma Key effect removes all the regions of a clip that have a speciﬁed luminance or brightness. The clip’s quality setting does not inﬂuence the Luma Key effect.
Page 270 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Noise Type Randomly changes the red, green, and blue values of the image’s pixels individually when Use Color Noise is selected. Otherwise, the same value is added to all channels.
Page 271 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Use Level to adjust the number of tonal levels for each channel to which Posterize will map existing colors. Posterize Time The Posterize Time effect locks a clip to a speciﬁc frame rate. Posterize Time is useful on its own as a special effect, but it also has more subtle uses.
Page 272 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Use Background Color to specify the new background color when you want to change the color of a matte. Replicate The Replicate effect divides the screen into tiles and displays the whole image in each tile.
Page 273 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Spherize The Spherize effect wraps a clip around a spherical shape and is useful for giving objects and text a three-dimensional effect. You can set the intensity (amount) from –100 (a concave appearance) to 100 (a convex appearance).
Page 274 Rotation Speciﬁes the number of complete rotations and degree that the clip rotates. Opacity Speciﬁes the degree of transparency of the image, in percentages. Note: Transform is an Adobe After Effects effect that includes the Shutter Angle control and Use Composition option; both of those controls apply only in Adobe After Effects.
Page 275 Around Center rotates pixels around the center of the clip. Audio effects included with Adobe Premiere Pro Adobe Premiere Pro includes a variety of audio effects designed to alter or enhance the properties of audio clips. Most audio effects are available in multiple versions for mono, stereo, and 5.1 clips and can be applied to either clips or tracks, unless speciﬁed otherwise.
Page 276 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Bass The Bass effect allows you to increase or decrease lower frequencies (200 Hz and below). Boost speciﬁes the number of decibels by which to increase the lower frequencies.
Page 277 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Compressor Balances the dynamic range to create a consistent level throughout the duration of the clip by increasing the level of soft sounds and decreasing the level of loud sounds.
Page 278 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Frequency Speciﬁes the amount by which to increase or decrease the band (between 20 and 2000 Hz). Gain Speciﬁes the amount by which to increase or decrease the band (between –20 and 20 dB).
Page 279 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Attack 1-3 Speciﬁes the time (between 0.1 and 100 milliseconds) the compressor takes to respond to a signal that exceeds the threshold. Release 1-3 Speciﬁes the time required for the gain to return to the original level when the signal falls below the threshold.
Page 280 You can open an Adobe Premiere 5.0 project in Adobe Premiere 6.0 or 6.5 to view and render effects. However, Adobe Premiere Pro does not support Adobe Premiere 5.0 effects and removes these if you open an Adobe Premiere 6.0 project ﬁle that contains them.
Page 281 Image Pan, Mosaic, Polar, Sharpen More, Strobe, and Video Noise. Gallery of effects The samples below illustrate just some of the video effects included with Adobe Premiere Pro. To preview an effect not in this gallery, apply it and preview it in the Monitor window.
Page 282 Adobe Premiere Pro Help Applying Effects Using Help Contents Index Back Noise Pinch Pointillize Posterize Radial Blur Replicate Sharpen Sharpen Edges Original image Shear Solarize Spherize Texturize Tiles Tint Twirl Vertical Flip Wave Wind ZigZag Using Help Contents Index Back...
Page 283 If a compatible DVD writer is connected to your computer, you can create a DVD directly from a sequence. Adobe Premiere Pro makes the best use of the space available on a DVD by automatically balancing properties such as bitrate and image quality. A DVD you create using Adobe Premiere Pro automatically plays back from the beginning of the disc when inserted in a DVD player.
Page 284 The Export To DVD command detects only burners that are connected and turned on at the time you launched Adobe Premiere Pro. If you connected and turned on any burners after that point, they are not recognized until you click Cancel, restart Adobe Premiere Pro, and choose the Export To DVD command again.
Page 285 Burner Status Ready indicates that Adobe Premiere Pro can write a DVD to the disc in the selected burner. None Detected means that no DVD drives are recognized; check connec- tions and click Rescan.
Page 286 Once you save this custom preset, you can use it in later projects or share it with other users. Note: You can also access the Adobe Media Encoder by clicking Edit in the Encoding panel in the Export To DVD dialog box. When you access the dialog box this way, MPEG-2 - DVD is the only format available.
Page 287 SurCode for Dolby Digital 5.1 is a high-quality encoding format developed for multi- • channel digital sound and the most common encoder for DVD-video. It is also a requirement for NTSC discs. MainConcept MPEG Audio is a high-quality encoder included with Adobe Premiere Pro. • Using Help Contents...
Page 288 To export a preset: 1 Choose File > Export > Adobe Media Encoder. 2 Choose the preset you want to export from the Presets pop-up menu. 3 Alt-click the disk button to display the Export Preset Dialog.
Page 289 Adobe Premiere Pro Help Producing Final Video Using Help Contents Index Back To change the displayed Alternates or Audiences: 1 Click the arrow next to the Alternates or Audiences name to expand it. 2 Click Add/Remove Alternates or Add/Remove Audiences.
Page 290 Adobe Premiere Pro provides two ways to export a sequence. You can export as a standard movie ﬁle, such as Windows AVI. You can also use the Adobe Media Encoder to encode an exported program for speciﬁc media delivery, such as Windows Media over a dial-up modem or MPEG-1 for a video CD.
Page 291 Adobe Premiere Pro. If you don’t have a device that Adobe Premiere Pro can control, you can still play the sequence and record the playback output manually. For more about device control, see “Using device control”...
Page 292 6 For Preroll, type the number of frames that you want Adobe Premiere Pro to back up on the recording deck before the speciﬁed timecode. Specify enough frames for the deck to reach a constant tape speed.
Page 293 Opening a project in Adobe After Effects You can import a saved Adobe Premiere Pro project ﬁle into Adobe After Effects and apply ﬁnishing touches such as advanced keying features, effects, and animations. The following list describes how Adobe Premiere Pro features are imported by Adobe After Effects: All clips transfer with their folder hierarchy.
Page 294 You can export audio using the File > Export > Audio command. This will let you choose from ﬁle types that can handle audio, and the Video option is automatically deselected and unavailable. You can also export audio by using the Adobe Media Encoder (“Using Adobe Media Encoder transcode presets”...
Page 295 Exporting a ﬁlmstrip ﬁle for editing in Adobe Photoshop When you want to edit a clip in Adobe Photoshop, you can export to the Filmstrip format, which was speciﬁcally created for this purpose. The Filmstrip format is useful when you want to paint directly on video frames, a process known as rotoscoping.
Page 296 You can paint on the gray lines dividing the frames of the ﬁlmstrip. It won’t hurt the ﬁle, • but Adobe Premiere Pro will display only the part of each frame that lies within the frame border. You can edit the red, green, blue, and alpha channels in the ﬁlmstrip ﬁle. However, use •...
Page 297 Video formats Microsoft AVI and DV AVI, Animated GIF, MPEG, RealMedia, QuickTime, and Windows Media. The last four are available through the File > Export > Adobe Media Encoder command. DVD is supported through the File > Export > Export To DVD command, and DV is supported through File >...
Page 298 Add to Project When Finished Select if you want the exported ﬁle to be added to the Project window after exporting is complete. Beep When Finished Select if you want Adobe Premiere Pro to sound an alert when exporting is complete.
Page 299 Note: In some codecs, quality and data rate are interrelated, so that adjusting one option automatically alters the other. Recompress Select to ensure that Adobe Premiere Pro exports a video ﬁle that is under the data rate you speciﬁed. Choose Always from the Recompress menu to compress every frame even if it is already within the data rate, or choose Maintain Data Rate to preserve quality by compressing only the frames that are above the speciﬁed data rate.
Page 300 Optimize Stills Select this option to use still images efﬁciently in exported video ﬁles. For example, if a still image has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each.
Page 301 ﬁle for a low data rate. You can limit the data rate of your program simply by specifying it in Adobe Premiere Pro, but if the video ﬁle still does not play well on your audience’s computers, you may also want to make the following adjustments: Lower the data rate and quality as far as you can without losing too much picture •...
Page 302 CD-ROM playback. Match the data rates of your exported video to the networks through which you expect to deliver the video. The Adobe Media Encoder contains presets for many bandwidth scenarios so that you can more easily match the viewing capabilities of your audience.
Page 303 When you export a sequence from Adobe Premiere Pro, the way you adjust settings for export depends on the kind of output you want: When recording to DVD (File > Export > Export to DVD), Adobe Premiere Pro starts with •...
Page 304 DVD production The data rate should maximize quality while ﬁtting the entire program within the space available on the DVD. In Adobe Premiere Pro, by default the DVD data rate is automatically adjusted by the Adobe Media Encoder, which is used by the Export >...
Page 305 About creating motion-picture ﬁlm If you are editing a project for viewing on motion-picture ﬁlm, ﬁrst export the Adobe Premiere Pro video sequence to a video ﬁle using settings appropriate for the ﬁlm stock.
Page 306 Adobe Premiere Pro Help Keyboard Shortcuts Using Help Contents Index Back Keyboard Shortcuts Keys for selecting tools in the toolbox Result Shortcut Selection tool Track select tool Ripple edit tool Rolling edit tool Rate stretch tool Razor tool Slide tool...
Page 307 Adobe Premiere Pro Help Keyboard Shortcuts Using Help Contents Index Back Key for navigating in the Timeline window Result Shortcut Set work area bar to sequence Double-click the work area bar Keys for capturing in the Capture window Result Shortcut Navigate through editable ﬁelds...
Page 308: Legal Notices
Adobe Systems Incorporated. Please note that the content in this guide is protected under copyright law even if it is not distributed with software that includes an end-user license agreement.
Page 309 245, Adobe Premiere Pro clips Help opacity installing position learning resources rotation task lists Timeline window and Adobe Title Designer animating effects Advanced Authoring Format animation, importing AI. See Adobe Illustrator (AI) file format Using Help Contents Index Back...
Page 310 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Antialias effect L-cut edit...
Page 311 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Automate to Sequence command Blur &...
Page 312 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z CD. See compact disc audio...
Page 313 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z color correcting clips using a reference monitor...
Page 314 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Delete Render Files command...
Page 315 Effects palette extracting ellipse tool insert edit 128, 132, Emboss effect J-cut edit Enable command L-cut edit Encore See Adobe Encore DVD lift EQ effect linked clips even field See video fields moving clips excluding tracks navigating expanding tracks...
Page 316 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z optimizing still images audio preferences other software and 5.1 Mixdown Type...
Page 317 Gaussian Blur effect IEEE 1394 93, Gaussian Sharpen effect iLInk. See IEEE 1394 General settings Illustrator. See Adobe Illustrator (AI) file format Ghosting effect Image Control effects category GIF file format Image Mask transition See also Animated GIF file format...
Page 318 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Internet, creating video for...
Page 319 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Lock icon track logging clips 66, 70,...
Page 320 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Opacity effect Open command...
Page 321 A B C D E F G H I J K L M N O P Q R S T U V W X Y Z pen tool 200, 201, 224, preroll Perspective effects category presets Photoshop. See Adobe Photoshop (PSD) file projects format transcoding PICT file format...
Page 322 See also previewing Properties window about properties, clips order of effects PSD. See Adobe Photoshop file format order of processing Replicate effect resize tool Reveal in Project command quality during previews Reverb effect QuickTime (MOV) Revert command...
Page 323 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z audio nesting 136, audio capture...
Page 324 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z clearing about using to view clips...
Page 325 222, text tools keyframe graph textures, using Adobe Photoshop files as Tint effect Texturize effect Title Safe Area option TGA. See Targa (TGA) file format titles three-point editing compatible file formats...
Page 326 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z display style Trim pointer...
Page 327 Adobe Premiere Pro Help Index Using Help Contents Index Back A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Video CD YCbCr Parade...

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