AdobeメーカーPremiere Pro CS5の使用説明書/サービス説明書
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Last updated 1/16/2012 Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html..
iii Last updated 1/16/2012 Contents Chapter 1: What's new What’s new (CS5.5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv USING ADOBE PREMIERE PRO Contents Last updated 1/16/2012 Chapter 7: Monitoring assets Using the Source Monitor and Program Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v USING ADOBE PREMIERE PRO Contents Last updated 1/16/2012 Viewing and adjusting effects and keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Applying effects to audio .
1 Last updated 1/16/2012 Chapter 1: What's new What’s new (CS5.5) For a complete list of what’s new and changed in Adobe Premiere Pro CS5.5, see this post on the Premiere Pro Work Area blog . To see the new features of Adobe Premiere Pro CS5.
2 USING ADOBE PREMIERE PRO What's new Last updated 1/16/2012 an Adobe Story script file (.astx) to a single or multiple clips directly in Adobe Premiere Pro. You don't have to use OnLocation for this step anymore. See “ Improve speech analysis with Adobe Story scripts (CS5.
3 USING ADOBE PREMIERE PRO What's new Last updated 1/16/2012 Search, which turns spoken dialogue into searchable text for faster editing. For more information, see “ Cross- application workflows ” on page 28. Editing and production efficiencies from metadata features Add intelligence to your assets using innovative metadata features.
4 USING ADOBE PREMIERE PRO What's new Last updated 1/16/2012 • Nikon D300S, • Nikon D3S • Nikon D5000 • Panasonic Lumix GH1 using AVCHD sequence presets.
5 Last updated 1/16/2012 Chapter 2: User interface Workspaces For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press . For an overview of the Premiere Pro interface, see this video from Learn By Video and Video2Brain by Maxim Jago .
6 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Example workspace A. Application window B. Grouped panels C. Individual panel Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks.
7 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Dragging panel (A) onto docking zone (B) to dock it (C) Grouping zones Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels.
8 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Drag panel gripper to move one panel • To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone. Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone.
9 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 To quickly maximize a panel beneath the pointer, press the accent key. (Do not press Shift.
10 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Drag horizontal scroll bar to see all panels in narrow group Working with multiple monitors To increase the available screen space, use multiple monitors.
11 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Working with Panels Navigate the panels You can use keyboard shortcuts to activate panels in rotation. ❖ Do one of the following: • To activate panels in rotation to the right, press Ctrl+Shift+.
12 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Tools panel and Options panel When you open the Options panel, it opens by default in the horizontal docking area running just under the menu bar, forming the Options bar. You can undock, move, and redock the Options panel like any other panel.
13 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 unchanged. For more information about using the Rate Stretch Tool, see “ Change clip speed and duration with the Rate Stretch tool ” on page 300 or this video about the Rate Stretch Tool by Andrew Devis.
14 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Audio Indicates sample rate, bit depth, and channels, in that order. Tape Indicates the name of the tape. In Indicates the In point timecode of the selected clip. Out Indicates the Out point timecode of the selected clip.
15 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 Preferences Change preferences You can customize the look and behavior of Premiere Pro, from determining the default length of transitions to setting the brightness of the user interface.
16 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 “ Set the default keyframe display of audio tracks ” on page 141 “ Render audio when rendering video ” on page 206 “ Scale a.
17 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 values between those two points, depending on the speed at which you change the value. This option is selected by default. Minimum Time Interval Thinning Creates keyframes only at intervals larger than the value you specify.
18 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 2 Do any of the following, and then click OK: • Select Automatically Save Projects, and type the number of minutes you would like between saves. • For Maximum Project Versions, enter the number of versions of a project file you want to save.
19 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 More Help topics “ Label assets ” on page 107 Media preferences Indeterminate Media Timebase Specifies the framerate for imported still-image sequences.
20 USING ADOBE PREMIERE PRO User interface Last updated 1/16/2012 • the video transition preview in the Effect Controls panel. You can choose the default player for your computer, or a third-party plug-in player for Premiere Pro. Third-party players are installed with some capture cards.
21 Last updated 1/16/2012 Chapter 3: Workflows and setup Basic workflow The steps you take in editing video, from import or capture through final output, make up your workflow. The basic workflow describes the most general steps you would take with most projects.
22 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Quickstart screen If you are starting a new project, the New Sequence dialog will appear after you have exited the New Project dialog. Choose the one that matches the settings of your footage.
23 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Project panel and Capture panel You can also import various digital media, including video, audio, and still images.
24 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Source Monitor, Program Monitor, and Timeline panel You add clips to a sequence in a Timeline panel by dragging them there or by using the Insert or Overwrite buttons in the Source Monitor.
25 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Titler 5. Add transitions and effects The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s motion, opacity, and Variable Rate Stretch using the Effect Controls panel.
26 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 6. Mix audio For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Premiere Pro saves your adjustments in real time.
27 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Export Settings dialog box and Encore New Project dialog box More Help topics “ Import clips from Adobe OnLocation projects usi.
28 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Preview files Preview files made on one platform are not available on the other.
29 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 • Use the superior selection and masking tools to divide a frame into elements for animation or compositing.
30 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 If you want to broadcast the final movie it is best to ensure, in Photoshop, that the colors in your image are broadcast- safe. Assign the appropriate destination color space—for example, SDTV (Rec.
31 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Copy from After Effects to Adobe Premiere Pro You can copy a layer based on a footage item from an After Effects composition and paste it into an Adobe Premiere Pro sequence.
32 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Copy from Adobe Premiere Pro to After Effects You can copy a video or audio asset from anAdobe Premiere Pro sequence and paste it into an After Effects composition.After Effects converts assets to layers and copies the source footage items into its Project panel.
33 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Note: When you import a Premiere Pro project into After Effects, features are converted in the same manner as they are converted when copying from Premiere Pro to After Effects.
34 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 More Help topics Understanding the script to screen workflow Record direct to disk: from Adobe OnLocation to Adobe Premiere Pro .
35 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Customize the menu template Edit titles, change graphics, or add video for background in Encore. You can also use video in button thumbnails by specifying a section of a clip to play in the button.
36 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Adobe Dynamic Link About Dynamic Link (Production Premium or Master Collection only) In the past, sharing media assets among post-production applications has required you to render and export your work from one application before importing it into another.
37 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Linking to and from After Effects When you dynamically link to an After Effects composition from AdobePremiere Pro or Encore, it appears in the host application Project panel. You can use the dynamically linked composition as you would any other asset.
38 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 In Adobe Premiere Pro, select a sequence. Then, choose Sequence > Sequence Settings. In the Video Previews pane, select Maximum Bit Depth and Maximum Render Quality to haveAdobe Premiere Pro process at the highest possible quality.
39 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Create a dynamically linked composition from Adobe Premiere Pro or Encore Creating a new dynamically linked composition from Adobe Premiere Pro or Encore launches After Effects.
40 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Modify a dynamically linked composition in After Effects (Production Premium or Master Collection only) Use the Edit Original command in Adobe Premiere Pro or Encore to modify a linked After Effectscomposition.
41 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Take a dynamically linked composition offline If you are experiencing jerky playback, you can take a dynamically linked composition offline. Also, you can share your project without having to open it on a system with Production Premium or Master Collection installed.
42 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Premiere Pro trial versions The trial version of Premiere Pro CS5 doesn't include some features that depend on third-party software components that are only included in the full version of Premiere Pro.
43 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 More Help topics “ Creating and changing projects ” on page 51 “ Selecting a sequence preset ” on page 147 “ Create a s.
44 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 3 Do one of the following: • Connect the serial device control port (RS-422 or RS-232) on the camcorder or VTR with the serial port (Windows) or USB port (Mac OS) on the computer.
45 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 • AVCHD • AVC-I You can also preview video on a high-definition TV monitor, if your computer has one of the following: • a high-definition capture card, • a display card with component, SDI or HDMI outputs.
46 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 3 (Optional. For an analog camcorder or VTR with an RS-422 or RS-232 port. Windows only) Connect the serial device control port on the camcorder or VTR with the serial port on the computer or digitizer using the Pipeline Digital ProVTR cable.
47 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 3 Select this new aggregate device within Premiere Pro's Audio Hardware Preference panel. Specify ASIO device settings (Windows only) 1 Choose Edit >Preferences > Audio Hardware.
48 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 All scratch disk preferences are saved with each project. You can select different scratch disk locations for different projects.
49 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 Optimizing scratch disk performance For optimum performance, follow these guidelines: • If your computer has only one hard disk, consider leaving all scratch disk options at their default settings.
50 USING ADOBE PREMIERE PRO Workflows and setup Last updated 1/16/2012 A database retains links to each of the cached media files. This media cache database is shared with Adobe Media Encoder, After Effects, Premiere Pro, Encore, and Soundbooth, so each of these applications can each read from and write to the same set of cached media files.
51 Last updated 1/16/2012 Chapter 4: Project setup Creating and changing projects A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing.
52 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Create a project Projects may contain more than one sequence, and the settings for one sequence may differ from that of another. Premiere Pro will prompt you for settings for the first sequence every time you create a new project.
53 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Mercury Playback Engine will be enabled. For more information about CUDA, Mercury Playback Engine and Premiere Pro, see this post on the Premiere Pro Work Area blog .
54 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Skip Replaces a missing file with a temporary offline clip for the duration of a session. When you close your project and then reopen it, you see a dialog box that asks you to locate the file or allows you to skip it again.
55 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Using Project Manager, you can create a version of your project, called a trimmed project , that references only the material used in your sequences. Also, you can specify which sequences to include in the trimmed project.
56 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Note: Nested sequences are not automatically added to the trimmed sequences. If the sequence(s) you are trimming contain nested sequences, you also need to include these nested sequences in the selection so they are included in the trimmed project.
57 USING ADOBE PREMIERE PRO Project setup Last updated 1/16/2012 Note: If you rename captured clips, and then select the Make Offline option, the subsequent copied project retains and displays the original filename, not the new name. Project Destination Designates where Project Manager saves the files you specified.
58 Last updated 1/16/2012 Chapter 5: Importing, transferring, capturing, and digitizing Transferring and importing files For information about shooting and capturing high-quality audio and video, see “Shooting and Capturing Great Video Assets,” from Premiere Pro CS5 Classroom in a Book.
59 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Supported video and animation file formats • 3GP, 3G2 • ASF (Netshow, Windows only) • AVI (D.
60 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 • support for Echo port in R3D Source Settings dialog box, so that RED preview can be sent out t.
61 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 • PSD • PSQ (Adobe Premiere 6 Storyboard) • PTL, PRTL (Adobe Premiere title) • TGA, ICB, V.
62 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Transfer video files from file-based media into the same folder you specify for captured video with the project scratch disk settings.
63 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Importing is different from capturing . The Import command brings files that are already on your hard disk or other connected storage device into your project.
64 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 4 Select one or more files from the list of files. To select more than one non-contiguous file, Ctrl-click (Windows) or Command-click (Mac OS) the filenames.
65 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Premiere Pro imports the clip into the Project panel. You can also drag clips from the Adobe Bridge Content panel directly into the Premiere Pro Project panel.
66 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Note: Premiere Pro does not support proxies recorded by some Panasonic P2 camcorders in P2 card PROXY folders. For your computer to read P2 cards, it needs the appropriate driver, which you can download from the Panasonic website.
67 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 5 Either select File > Import From Browser, drag clips from the Media Browser into the Project panel, or drag clips from the Media Browser into a timeline.
68 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Preparing still images before importing Before you import a still image into Premiere Pro, prepare it as completely as possible to reduce rendering time.
69 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Import a layered Photoshop file When you import a layered file saved in Photoshop file formats, you can choose how to import the layers in the Import Layered File dialog box.
70 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Even though the layers in Illustrator are merged in Premiere Pro you can edit the layers by selecting the clip and choosing Edit > Edit Original.
71 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Using audio from Adobe Soundbooth You can use Adobe® Soundbooth™ to perform advanced audio editing.
72 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Compressed audio • Premiere Pro does conform all compressed audio, such as audio found in mp3, WMA, MPEG, or compressed MOV files. It conforms this audio at the sample rate of its source file.
73 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Importing earlier Premiere Pro projects You can add the contents of a project made with Premiere Pro CS3 on either Mac OS or Windows. In addition, on Windows, you can import a project made with earlier versions of Premiere Pro, or Premiere 6.
74 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Importing After Effects compositions You can import After Effects compositions like any other supported file type by using the File > Import command.
75 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Note: You cannot import native Final Cut Pro project files, only XML files exported from Final Cut Pro. You can export Final Cut Pro XML files from Premiere Pro.
76 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Conversion of Final Cut Pro video effects Conversion of Final Cut Pro video transitions Conversion.
77 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Conversion of Final Cut Pro audio transitions Final Cut Pro composite modes Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects.
78 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Capturing and digitizing Andrew Devis demonstrates capturing and batch capturing from miniDV tape using Adobe Premiere Pro in this video tutorial on the Creative Cow website.
79 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Note: Your operating system or hard disk format could limit the length of a captured clip. • A project that was created using a preset in the New Project dialog box in which all settings match the footage you plan to capture.
80 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Specify capture settings 1 With a project open, choose File > Capture, and select the Settings tab. 2 In the Capture Settings pane, click Edit. 3 In the Capture Settings dialog box, select an option from the Capture Format menu.
81 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Set up device control You can use device control to manage and automate video capture and to export sequences to tape. Device control lets you precisely control devices, such as decks and camcorders, with capture and batch capture controls.
82 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Set up a device for device control Premiere Pro supports the control of devices such as camcorders and VTRs. Premiere Pro controls DV and HDV devices by way of IEEE 1394 (FireWire, i.
83 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 6 (DV/HDV Device Control only) Click Check Status. Premiere Pro displays one of the following statuses: Offline Premiere Pro does not see your device.
84 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 To operate Capture panel controls using the keyboard, see the tool tips in the Capture panel. You can change the shortcuts by choosing Edit > Keyboard Customization.
85 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Note: When capturing with In and Out points, the earliest allowable time for the In point is 2 seconds. If the provided In point is earlier, it will be automatically adjusted to start at 2 seconds.
86 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 7 If you want to capture frames that extend beyond the In and Out points of each clip, enter the number of frames in the Handles setting of the Capture section.
87 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Scene Detect starts a separate file (Windows) or subclip (Mac OS) at the first frame of each scene Note: Scene detection works for DV, HDV 1080i, and HDV 720p footage.
88 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 • When shuttling, logging, and capturing HDV footage on Mac OS, the preview pane in the Capture panel will remain blank. You must preview this footage on an external TV monitor or, when the source device is a camcorder, on its viewfinder.
89 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Important: You can transfer and import DVCPRO HD assets, XDCAM HD and XDCAM EX assets, and AVCHD assets from their media without capturing. Capturing takes longer than transferring, and does not preserve all metadata.
90 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Note: When creating low-resolution clips for offline editing with Adobe Media Encoder, clips with two audio channels are created even if you have four or more audio channels on your footage.
91 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Digitize analog video 1 Exit from Premiere Pro. 2 Connect the analog device’s video and audio outputs to the digital device’s (digitizer, digital camcorder or digital deck) analog inputs.
92 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 For best results, make sure that you capture or record according to these specifications: Frame size NTSC standard 720x480 or PAL standard 720x576. If your project uses a different frame size, Premiere Pro scales it automatically.
93 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Capture panel with Logging active When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section. Because of the nature of Long GOP formats, inaccuracy in actual media content is possible.
94 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 • The Clip Name in the Clip Data section progresses in numerical increments automatically.
95 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 More Help topics “ Set up device control ” on page 81 Choosing batch-capture settings A batch list of logged clips appears as a list of offline clips in the Project panel.
96 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Batch capture clips 1 Select the offline clips that you want to capture, and then choose File > Batch Capture.
97 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Import and export batch lists You can import batch lists in a variety of file formats: tab-delimited text (TXT), comma-separated value (CSV), TAB, and PBL.
98 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Working with timecode About timecode Many camcorders and high-end video decks record timecode , which marks specific frames with unique addresses.
99 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Start At 00:00:00:00 Starts timecode shown for every clip at 00:00:00:00. 3 In the Frame Count menu, choose one of the following: Start At 0 Numbers every frame sequentially, with the first frame numbered 0.
100 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 5 Before you record video on a striped tape, play about 30 seconds of it from the beginning. Verify that the camcorder is reading the timecode you striped before you start shooting.
101 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 Enter timecode As you capture and edit video, you enter timecode values many times. For example, you enter timecode values to set In and Out points for clips and to navigate a Timeline panel.
102 USING ADOBE PREMIERE PRO Importing, transferring, capturing, and digitizing Last updated 1/16/2012 View source timecode in the Program Monitor You can display the source timecode in the Program Monitor preview for clips in a sequence as you edit: • If you trim a clip, the clip’s source timecode is displayed.
103 Last updated 1/16/2012 Chapter 6: Managing assets Customizing the Project panel For information about the Project Panel, see this series of 4 video tutorials by Andrew Devis on the Creative Cow we.
104 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Customize List view columns The columns of metadata in the Project panel List view tell various things about the assets listed. The Project panel can display any XMP metadata fields you choose, not only the clip data fields.
105 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Label Color that helps identify and associate assets. Media Duration Length of the source file, expressed in the currently specified Display option. Note: In Premiere Pro, all durations in any panel include the frames specified by the In point and Out point.
106 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Organizing assets in the Project panel Work with bins The Project panel can include bins, which you can use to organize project contents in much the same way as folders in Windows® Explorer or Mac OS® Finder.
107 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 • To open a bin in a new tab, Alt-double-click (Windows) or Option-double-click (Mac OS) the bin.
108 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Rename assets All files in your project are stored on your hard disk as individual files. Only a reference to each file is added to the Project panel in Premiere Pro. Whenever you rename a clip in Premiere Pro, the original file and filename remain untouched on your hard disk.
109 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 4 Type the term for which you want to search. The Project panel shows only assets that match the search criteria. The magnifying glass menu suggests search terms. The suggestions include any misspellings present in clip metadata.
110 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 2 Check Face Detection. Choose from High, Medium, or Low quality (High gives the best results, while Low is fastest), and then click OK. Adobe Media Encoder opens with the selected clips in its encoding queue, and analyzes the selected clips.
111 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 You can also set the poster frame by right-clicking (Windows) or Control-clicking (Mac OS) the thumbnail viewer and choosing Set Poster Frame.
112 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 You can also view clip properties in the Source Monitor, Timeline panel, or Project panel by right-clicking (Windows) or Control-clicking (Mac OS) a clip and choosing Properties.
113 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 About schemas and properties A metadata schema is a collection of properties specific to a given workflow. The Dynamic Media schema, for example, includes properties like Scene and Shot Location that are ideal for digital video projects.
114 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Frankin McMahon shows you how to use the Metalogging workspace in the video tutorial, “DSLR Video Editing in Premiere Pro CS5” from Layers Magazine.
115 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 More Help topics “ Source clips, clip instances, subclips, and duplicate clips ” on page 161 Edit XMP metadata In Adobe video applications, similarly named properties are linked in the Metadata and Project panels.
116 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Show or hide XMP metadata To optimize the Metadata panel for your workflow, show or hide entire schemas or individual properties, displaying only those that you need. 1 From the options menu for the Metadata panel, select Metadata Display.
117 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 • Check only the boxes near the names of the clip information fields you want to display. 5 Click OK. Link clip data to XMP metadata In the Metadata panel, the Clip property value fields are internal.
118 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 A 4:3 frame aspect ratio (left), and wider 16:9 frame aspect ratio (right) When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you decide how to reconcile the different values.
119 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. Pixel aspect ratios vary because different video systems make various assumptions about the number of pixels required to fill a frame.
120 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 When you capture or import NTSC footage with the ATSC frame size of 704x480, the D1 frame size of 720x486, or the DV frame size of 720x480, Premiere Pro automatically sets the pixel aspect ratio for that asset to D1/DV NTSC (0.
121 USING ADOBE PREMIERE PRO Managing assets Last updated 1/16/2012 Correct recurring aspect ratio misinterpretations Premiere Pro automatically assigns pixel aspect ratios to files according to a file of rules. If a specific type of image is consistently misinterpreted (distorted) when you import it, you can change the relevant rule.
122 Last updated 1/16/2012 Chapter 7: Monitoring assets Using the Source Monitor and Program Monitor Online resources for the Source Monitor and Program Monitor Andrew Devis gives an overview of editing and viewing assets in the Source monitor in this video tutorial on the Creative Cow website.
123 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 2 Do one of the following: • To set playback resolution, select Playback Resolution, • To set paused resolution, select Paused Resolution. 3 From the menu, select the resolution desired.
124 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 Choosing a clip to view from the Source menu 2 To clear a clip from the Source Monitor, in the Source menu, choose Close to clear or Close All to clear all clips. You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab.
125 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 to display timecode in other formats. Each ruler also displays icons for its corresponding monitor’s markers and In and Out points. You can adjust the current time, markers, and the In and Out points by dragging their icons in a time ruler.
126 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 The standard action- and title-safe margins are 10% and 20%, respectively. However, you can change the dimensions of the safe zones in the Project Settings dialog box. (See “ Project Settings dialog box ” on page 52.
127 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 Playing assets Play video in the Source Monitor and Program Monitor The Source Monitor and Program Monitor contain several controls that resemble the playback controls on a video deck.
128 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 More Help topics “ Specify the duration for preroll and postroll pauses ” on page 47 Jog or shuttle playback ❖ Do one of the following: • Drag the shuttle slider left to play backward, or right to play forward.
129 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 More Help topics “ Timeline panels ” on page 136 Using the J, K, and L keys to shuttle video You can quickly and accurately move through frames in a sequence using the J, K, and L keys.
130 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 A vectorscope measures the chrominance (color components) of a video signal, including hue and saturation .
131 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 Vectorscope The Vectorscope displays a circular chart, similar to a color wheel, that shows the video’s chrominance information. Saturation is measured from the center of the chart outward.
132 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 YC Waveform with the chroma control enabled A. IRE units B. Luminance (green) waveform C. Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Intensity Adjusts the brightness of the waveform display.
133 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 RGB Parade The RGB Parade scope displays waveforms representing the levels of the red, green, and blue channels in a clip. The waveforms appear in a graph one after another, in parade fashion.
134 USING ADOBE PREMIERE PRO Monitoring assets Last updated 1/16/2012 You can specify the Reference Monitor’s quality setting, magnification, and viewing mode just as you would in the Program Monitor. Its time ruler and viewing area bar also work the same.
135 Last updated 1/16/2012 Chapter 8: Editing sequences and clips Creating and changing sequences In Premiere Pro, you specify the settings for each sequence, trim your clips, and assemble clips in sequences.
136 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Timeline panels Timeline panel A. Sequence tabs B. Time ruler C. Video tracks D.
137 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Time navigation controls in a Timeline panel A. Current-time display B. Play head and current-time indicator C. Work area bar D. Viewing area bar E. Time ruler F. Source track indicators G.
138 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • Press the Left or Right Arrow key to move the current-time indicator in the direction you want. Press Shift while pressing the arrow keys to move in increments of five frames.
139 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 More Help topics “ Fixed effects ” on page 274 Add tracks New video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks.
140 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • To enable Sync Lock for all tracks of a particular type, video or audio, Shift-click the Toggle Sync Lock box at the head of any track of that type. The Sync Lock icon will appear in the box, and Sync Lock will be enabled for those tracks.
141 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Set track display You can customize the tracks in a Timeline panel in several ways. You can expand or collapse tracks to display or hide track controls. Choosing from several display options, you can control how video and audio clips appear on a track.
142 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 2 Click the Set Display Style button , and choose an option from the menu: Show Waveform Displays audio waveforms in clips. Show Name Only Displays the name of audio clips without waveforms.
143 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • In the Project panel, click New Item . Then select Sequence. 2 On the Sequence Presets tab, select a preset from the Available Presets list. 3 Type the name of the sequence, and then click OK.
144 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 For more information about international television standards, see the video tutorial, lynda.com Digital Video Principles - Video standards . Note: A number of sequence presets are excluded from the trial version of Premiere Pro.
145 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Fields Specifies the field order, or which field of each frame is drawn first. If you work with progressive-scan video, select No Fields (Progressive Scan). Many capture cards capture fields regardless of whether the source footage was shot with progressive scan.
146 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Among the various options, you can reduce the frame size of previews. This reduction permits faster and easier playback of formats with large frame sizes, such as HD and RED.
147 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Selecting a sequence preset To ensure that a sequence is created to match the characteristics of an asset, drag the asset in the Project panel to the New Item button at the bottom of the Project panel.
148 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 2 In the Sequence Presets tab of the New Sequence dialog box, select the preset that most closely matches your video footage or the requirements of your capture card. Note: If you plan to create a custom sequence with Desktop (CS5) or Custom (CS5.
149 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • For an HD project, select one of the presets provided with your HD capture card.
150 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Create a sequence with uncompressed video playback For the highest quality previews of sequences on an SDI card or device connected to an external monitor, you should use one of the uncompressed formats for preview files.
151 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 24p sequences About 24p footage and sequences Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage .
152 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 The phase of 3:2 pulldown refers to the point at which the two split-field frames fall within the first five frames of the footage.
153 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 3 Click Playback Settings. 4 In the 24p Conversion Method pane, select one of the following options: Repeat Frame (ABBCD) Duplicates frames where necessary to maintain 29.
154 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Start a mobile device sequence You can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest way to get started.
155 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 The ability to nest sequences enables you to employ a number of time-saving techniques and to create effects that otherwise would be difficult or impossible: • Reuse sequences.
156 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 2 Do one of the following: • Select Clip > Nest. • Right-click the selection, and select Nest.
157 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Editing multi-camera sequences About multi-camera editing You can use the Multi-Camera Monitor to edit footage from multiple cameras, simulating live camera switching. You can edit footage from up to four cameras using this technique.
158 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 About the Multi-Camera Monitor The Multi-Camera Monitor plays the footage from each camera and a preview of the final edited sequence. When you record the final sequence, you click a camera preview to make it active and record footage from that camera.
159 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 3 Choose Clip > Synchronize, and then choose one of the following options: Clip Start Synchronizes clips at their In points. Clip End Synchronizes clips at their Out points.
160 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 6 When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it.
161 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • Use any of the standard editing tools to make changes in a Timeline panel. • Place the current-time indicator at the place in a Timeline where you want to replace a clip from one camera with a clip from another.
162 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 For more details, see Andrew Devis’ tutorial, “Subclips: What? Why? How?” See also Andrew Devis’ tutorials, “Understanding the Source Panel tools.
163 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 2 In the Source Monitor, set In and Out points for the subclip. Either or both the In point and Out point must differ from the source clip In point and Out point. 3 Do one of the following: • Choose Clip > Make Subclip, enter a name for the subclip, and click OK.
164 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Synchronizing audio and video with Merge Clips (CS5.5 and later) Premiere Pro CS5.5 and later and later features a new method for synchronizing audio and video called Merge Clips.
165 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Click OK. Your merged clip will now appear in the Project panel, with a name that matches the video clip, or the top- most selected audio clip (based on current sort order in the bin) if there is no video.
166 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Editing merged clips with gaps into the Timeline There are implications to how merged clips behave when editing them into the timeline, specifically, if the clips contain “gaps” in their component structure.
167 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • Full audio channel mapping control in the merged clip is not supported. • Merged clip audio results in mono track audio only. • Final Cut Pro XML and AAF interchange formats are not supported.
168 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 5 For File Name, type the name of the file as you want it to appear on disk when you capture it using Premiere Pro. If you’re creating an offline clip for a source file that is captured but isn’t on your computer yet, type the name of that file.
169 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Note: If you selected more than one offline clip, the Link Media To dialog box appears in turn for each clip you selected. The title bar of the dialog box gives the filename for each offline clip.
170 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Creating special clips (synthetics) Franklin McMahon created this video tutorial on synthetic media: transparent video, color bars and tone, and color matte on the Layers Magazine website.
171 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Create black video Empty areas of a track appear black if no other visible clip areas are present on underlying video tracks. If necessary, you can also create clips of opaque black video for use anywhere in a sequence.
172 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 3 From the Project panel, drag the transparent video clip to the highest track in a sequence, stretch it as far as you want, and apply an effect to it. Some third-party lens flares and other effects that carry an alpha channel work with transparent video.
173 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Adding a clip by inserting it between clips If one or more tracks is locked, an insert edit shifts clips in all unlocked tracks. To prevent an insert edit from shifting clips in a track, lock the track.
174 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Targeting a track while dragging a clip to a sequence • When you add clips to a sequence by pasting, (or keyboard shortcuts), you must specify target tracks in advance. You can target more than one video track or more than one audio track at a time.
175 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 For more information about targeting and patching tracks in Premiere Pro, see this video by Learn by Video and Video2Brain by Maxim Jago. Andrew Devis shows how to use Sync Lock and track targeting in this video on the Creative COW website.
176 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • (Roman keyboards only) To zoom into or out of a clip as you drop it into a Timeline panel, drag and press the equal sign key (=) to increase the zoom factor or press the minus sign key (–) to decrease it.
177 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Insert a clip into a sequence 1 Double-click a clip in a Project panel or sequence to open it in the Source Monitor. 2 Place the current-time indicator at the point in the sequence where you want to insert the clip.
178 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Insert or Overwrite by dragging a clip to the Program panel In Adobe Premiere Pro CS5.5 and later, you can select and drag a clip from the Project panel, Source panel, or Media Browser into the Program monitor.
179 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 3 In the Timeline, drag the source track indicators to the headers of the tracks into which you want the clip components to fall. 4 In the Source and Program Monitors, mark any combination of three In and Out points.
180 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 3 Select the clips in the Project panel. Either Ctrl-click (Windows) or Command-click (Mac OS) them in the order you want or by dragging a selection marquee around them. 4 In the Project panel, click the Automate To Sequence button .
181 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 A render bar will appear above any clip in a Timeline panel with attributes not matching the sequence settings. The render bar indicates that those clips will have to be rendered before final output.
182 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Set or remove sequence In and Out points You can use In and Out points in a sequence to help you place and rearrange clips. Note: Sequence In and Out points are automatically removed when you perform a lift or extract edit from the Program Monitor.
183 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 For more information about trimming clips, see this excerpt from An Editor's Guide to Premiere Pro by Richard Harrington, Robbie Carman and Jeff Greenberg. Working with In and Out points Setting a clip’s In and Out points is a process called trimming .
184 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Return to default vertical zoom level ❖ Double-click the vertical zoom bar. Return to previous vertical zoom level ❖ After returning to the default zoom level, double-click the vertical zoom bar.
185 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Dragging the In/Out Grip for a video clip or track • For an audio clip, drag the grey area between the In point and Out point above the waveform to the left or right.
186 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Trim with Trim-in and Trim-out tools You can change a clip’s In point or Out point by dragging its edge in a Timeline panel. As you drag, the current In or Out point appears in the Program Monitor.
187 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Set In and Out Points with the current-time indicator 1 Click the track head, in the area near the track title, of one or more tracks containing the clip or clips you want to trim.
188 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Program Monitor and Timeline during a rolling edit Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames.
189 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Timeline panel during (above) and after (below) a rolling edit Make a rolling edit using the Trim Monitor 1 In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit.
190 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 In Premiere Pro CS5.5 and later, the names of the commands have been renamed to match the common industry nomenclature, from “Roll Previous/Next Edit to CTI” to “Extend Previous/Next Edit to the Playhead”.
191 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Make a ripple edit using the Trim Monitor 1 In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. 2 Click in the Sync Lock box in the header of any track you want to shift when the ripple edit is made.
192 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Make a slip edit A slip edit shifts a clip’s In and Out points forward or backward by the same number of frames in a single action.
193 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Making split edits You can create a split edit by temporarily unlinking the video from the audio in adjoining clips, trimming their audio separately from their video, and placing them in a sequence so that the video of one overlaps the audio of the other.
194 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Set trim preferences You can set the number of frames that are trimmed when you use the Multiple-Frame Trim-in button or the Multiple-Frame Trim-out button . ❖ Choose Edit > Preferences > Trim (Windows) or Premiere Pro > Preferences > Trim (Mac OS).
195 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 In Premiere Pro CS5.5 and later, the Speech Analysis feature is also available for clips when there is at least one component audio clip in the merged clip. Users can choose to analyze all audio tracks in a merged clip, or a single one.
196 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 The spoken words appear in the Speech Analysis section. 5 To retain the speech metadata, save the project. If you import files with a speech metadata intoAfter Effects, each word appears as a layer marker on layers based on these footage items.
197 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Note: You can view the text of the file in a scrolling window. 4 Select Script Text Matches Dialog only if the imported script covers the recorded dialog verbatim.
198 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • To select multiple clips by clicking, use the Selection tool and Shift-click each clip you want to select.
199 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 You can trim the exterior edges of the group (the head of the first clip in a group or the tail of the last clip), but you can’t trim any of the interior In and Out points.
200 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Move clips in a Timeline panel You can drag a clip and place it in an empty spot or snap it to another clip. You can also insert and overwrite clips that you move. Watch the translucent rectangle that represents the clip’s duration as you drag it.
201 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Move clips to a different track ❖ Drag the audio portion or video portion of a clip up or down into the track you want. Only the portion of the clip you drag will move into a new track.
202 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 2 In the Timeline, click the headers of the tracks from which you want to lift frames to target them. 3 In the Program Monitor, click the Lift button . The frames that are lifted are placed on the system clipboard.
203 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Delete gaps between clips When you delete space between clips in a Timeline, all clips in all unlocked tracks shift according to the duration of the gap. To prevent a track from shifting during a ripple delete (or any insert or extract edit), lock the track.
204 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 The clip or clips are pasted into the sequence, and the current-time indicator jumps to the end of the pasted clip or clips.
205 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 More Help topics “ Change sequence settings ” on page 148 “ Source Monitor and Program Monitor overview ” on page 122 Define the work area for rendering ❖ Do any of the following: • Drag the work area bar over the section you want to preview.
206 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Render a preview file for a section of a sequence You can render any part of a sequence that falls under a red render bar. 1 Set the work area bar over the area you want to preview.
207 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 More Help topics “ Change sequence preview resolution settings ” on page 148 “ Specify scratch disks to improve system performance ” on page 47 Use preview files when rendering ❖ In the Export Settings dialog box, check Use Previews.
208 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 More Help topics “ Set up a DV or HDV system ” on page 42 Preview on a television monitor via camcorder or deck If you’re editing a DV project, you can preview the sequence on a television monitor via your IEEE 1394 connection and camcorder or video deck.
209 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Correcting mistakes Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work.
210 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 • To navigate in the History panel, drag the panel’s slider or scroll bar; or choose Step Forward or Step Backward from the panel menu. • To delete a project state, select the state.
211 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Marker icons in a Timeline panel A. Sequence marker B. Clip marker C. Encore chapter marker When setting markers (as with In and Out points), make sure that you’re working with the version of the clip you want.
212 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Add a numbered marker 1 Do one of the following: • To set a clip marker, open a clip in the Source Monitor or select the clip in a Timeline panel. • To set a sequence marker, select the Program Monitor or Timeline panel.
213 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Dragging a marker in the Source or Program Monitor’s time ruler moves the corresponding marker icon in a Timeline panel.
214 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 Type This field is enables only if Flash cue Point is selected. Check Event to create a Flash Cue Point marker that will trigger an event. Check Navigation to create a Flash Cue Point marker that will be used for navigation only.
215 USING ADOBE PREMIERE PRO Editing sequences and clips Last updated 1/16/2012 More Help topics Working with markers and cue points Add Encore chapter markers You can add Encore chapter markers to any sequence in Premiere Pro.
216 Last updated 1/16/2012 Chapter 9: Editing Audio Overview of audio and the Audio Mixer In Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.
217 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 More Help topics “ Review project settings ” on page 52 “ Work with submixes ” on page 245 “ Work with tracks ” on page 13.
218 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 • Track settings, which are processed in the following order: Pre-fader effects, pre-fader sends, mute, fader, meter, post-fader effects, post-fader sends, and then pan/balance position.
219 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 View audio clips You can view an audio clip’s Volume, Mute, or Pan time graphs and its waveform in a Timeline panel. You can also view an audio clip in the Source Monitor, which is useful for setting precise In and Out points.
220 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Audio mixer playback controls A. Go To In Point B. Go To Out Point C. Play/Stop Toggle D. Play In To Out E. Loop F. Record The Audio Master Meters panel duplicates the audio display of the Audio Mixer Master Meters.
221 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Open the Audio Master Meters panel ❖ Choose Window > Audio Master Meters. Customize a VST effect in an options window 1 Apply a VST plug-in effect to a track in the Audio Mixer. 2 Double-click the effect in the Effects And Sends panel.
222 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 3 Click OK. Change the source audio channel mapping for one or more clips 1 Select one or more clips containing audio in the Project panel and choose Clip > Modify > Audio Channels.
223 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 • Ch. 3 to Left-Rear Channel. • Ch. 4 to Right-Rear Channel. 6 Click OK. Map sequence audio channels to audio output device hardware channels You can specify the channel in a target hardware audio device for each channel in a sequence Master track.
224 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Right front channel Left surround channel Right surround channel Center front channel Low frequency effects channel Extract audio from clips You can extract audio from clips and generate new audio master clips in a project.
225 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 More Help topics “ Change the source audio channel mapping for one or more clips ” on page 222 “ Fill Left effect, Fill Right ef.
226 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Linked clips remain synchronized as you move them or trim them in a Timeline panel. You can apply audio effects, including Volume and Panning effects, to all channels in the linked clips.
227 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Link audio clips The audio clips must have the same channel type and each clip must be on a different track. If clips are already linked, such as an audio clip linked to a video clip, they must be unlinked before you can create a multi-clip link.
228 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Source Monitor set to display audio units for more precise editing of an audio clip More Help topics “ Trim with Trim-in and Trim-ou.
229 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Link and unlink video and audio clips In the Project panel, clips that contain both video and audio appear as a single item, represented by .
230 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Automatically synchronize clips that were moved out of sync 1 Right-click/Control-click the number that appears at the In point in a Timeline panel of the out-of-sync video or audio clip.
231 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Set source In and Out points for a split edit Although it’s common to create split edits after clips are assembled into a rough cut, it’s possible to trim clips for split edits in the Source Monitor before adding them to the sequence.
232 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Set the location for captured audio 1 Choose Project > Project Settings > Scratch Disks.
233 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer 13 Test the input levels by playing a selection from the analog source, or by having the narrator speak into the microphone.
234 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Mute input during recording Muting input can prevent feedback or echo when the computer is connected to speakers. 1 Choose Edit > Preferences > Audio (Windows) or Premiere Pro > Preferences > Audio (Mac OS).
235 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Adjusting gain and volume Gain generally refers to the input level or volume in clips.
236 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Normalize Max Peak To The default value is 0.0 dB. Users can set this to any value below 0.0 dB. For example, a user may want to allow for headroom and set this to -3 dB. This normalization option adjusts the maximum peak amplitude in the selected clips to the user-specified value.
237 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Adjust volume with keyframes You can adjust the volume level of a whole clip or track, or have the volume change over time using the rubber band (level line) in an audio track of a Timeline panel.
238 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Apply a volume level to several clips 1 In the Timeline, adjust the volume of a single clip to the desired level. 2 Choose Edit > Copy. 3 Drag a marquee over the other clips you want to change.
239 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Mix tracks in the Audio Mixer You can set volume levels of two or more audio tracks, relative to one another, using the Audio Mixer.
240 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Record changes to sound tracks Each channel of the Audio Mixer corresponds to an audio track in the Timeline. You can use the controls in each Audio Mixer channel to record changes to its corresponding audio track.
241 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 For each audio track, the selection in the automation options menu determines the track’s automation state during the mixing process: Off Ignores the track’s stored settings during playback.
242 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Specify automated keyframe creation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, degrading performance.
243 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 • When the output track contains fewer channels than in the other audio tracks, Premiere Pro downmixes the audio to the number of channels in the output track. • When an audio track and the output track are mono or when both tracks are 5.
244 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Pan or balance a stereo track ❖ In the Audio Mixer, do one of the following: • Drag the pan control knob or the value below the knob. • Click the value below the pan control knob, type a new value, and press Enter (Windows) or Return (Mac OS).
245 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 2 In the Audio Mixer, for each channel in a track, click the Direct Output Assignment button, and select one of the 16 channels in the Master track as the destination for that channel. Note: You cannot assign track sends to the Master track in a 16-channel sequence.
246 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Choosing submix type in Audio Mixer Route a track’s output to a submix ❖ In the Audio Mixer, select the submix name from the track output menu at the bottom of the track.
247 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Sends A. Name of submix assigned to send, and Send Assignment menu B. Send mute C. Control knob for selected send property D.
248 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 2 Do any of the following: • To designate a send as a pre-fader or post-fader, right-click (Windows) or Control-click (Mac OS) a send and choose Pre-Fader or Post-Fader from the context menu.
249 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Editing audio in Adobe Soundbooth Adobe Soundbooth lets you use advanced techniques to edit audio. If you have installed Adobe Soundbooth, you can apply the Edit In Adobe Soundbooth command to an audio clip.
250 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 Editing and mixing audio in Adobe Audition Adobe Audition lets you use advanced post-production techniques to create and edit audio. If you have installed Adobe Audition, you can apply the Edit In Adobe Audition command to an audio clip.
251 USING ADOBE PREMIERE PRO Editing Audio Last updated 1/16/2012 2 Specify a name and path for the exported sequence folder, and set the following options: Selection Choose Entire Sequence to include the full timeline duration, or Work Area to include the time range specified by the work area bar.
252 Last updated 1/16/2012 Chapter 10: Titling and the Titler Creating and editing titles The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well. The Titler is a collection of related panels.
253 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 3 In the New Title dialog box, enter a name for the new title and click OK. 4 Change the new title as desired.
254 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 You can easily change any element in the template by selecting the element and either deleting it or overwriting it. You can also add elements to the template. After you modify the template, you can save it as a title file for use in current and future projects.
255 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 2 Click the Templates menu button . Choose Import Current Title As Template.
256 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Depending on the tool you choose in the Titler, you can create point text or paragraph text . When you create point text, you specify an insertion point where you want to begin typing.
257 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Type text along a path 1 In the Titler, click the Path Type tool or the Vertical Path Type tool . Using the path type tools is similar to drawing with Pen Tool. 2 In the drawing area, click where you want the text to begin.
258 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 2 Type the characters you would like displayed for Style Swatches (limit of two) and the Font Browser (limit of six) into their respective fields.
259 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 text in a text box by selecting the text box and changing the value. Adjust the baseline shift between specific contiguous characters by selecting only those characters and changing the value.
260 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Note: To make tab markers visible whenever selected (rather than only when the Tab Stops dialog box is open), choose Title > View > Tab Markers. Delete a tab stop ❖ In the Tab Stops dialog box, drag the tab up, down, or off the tab ruler.
261 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 2 In the Title Properties panel, click the triangle next to Properties to expand its list, and then choose an option from the Graphic Type menu. Note: When you change shapes, the original object anchor points often are lost.
262 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 5 Position Pen Tool where you want the curve segment to end. • To create a C-shaped curve, drag in a direction opposite to the direction that you dragged to create the previous object anchor point.
263 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 3 Click the point that you want to delete. Adjust an object anchor point 1 Select the path containing the object anchor point. 2 Select Pen Tool . 3 Position the cursor over the point.
264 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Miter Limit Specifies the point at which the join type switches from mitered (pointed) to bevel (square). The default miter limit is 4. At the default, the join type switches from miter to bevel when the length of the point is four times the stroke weight.
265 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Send Backward Switches the selected object with the object directly behind it. Note: If your text or shape elements are densely stacked, selecting an element within the stack is difficult.
266 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Transform objects in titles You can adjust an object’s position, rotation, scale, and opacity—attributes collectively referred to as transform properties .
267 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 • Select the rotation tool and drag any object in the direction you want. • Choose Title > Transform > Rotation, type a new Rotation value, and click OK.
268 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 4-Color Gradient Creates a gradient fill composed of four colors, with a color emanating from each of the object’s corners. The Color option specifies the color that emanates from each corner of the object.
269 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Scaling Object X, Scaling Object Y Specifies how the texture is stretched along the x or y axis when applied to the object. The Texture option doesn’t stretch the texture but applies it to the face of the object from the upper left corner to the lower right corner.
270 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 4 Set any of the following options: Type Specifies the type of stroke you apply. Depth creates a stroke that makes the object appear to extrude. Edge creates a stroke that encompasses the entire inner or outer edge of the object.
271 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Titler text styles You can save a combination of color properties and font characteristics as a style , for later use.
272 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Apply a style to an object 1 Select the object to which you want to apply the style.
273 USING ADOBE PREMIERE PRO Titling and the Titler Last updated 1/16/2012 Note: The length of the title clip in a Timeline panel determines the speed of the roll or crawl.
274 Last updated 1/16/2012 Chapter 11: Effects and transitions About effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program. An effect can add a special visual or audio characteristic or provide an unusual feature attribute.
275 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Standard effects Standard effects are additional effects that you must first apply to a clip to create a desired result. You can apply any number or combination of Standard effects to any clip in a sequence.
276 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 GPU-accelerated effects Some effects can take advantage of the processing power of a certified graphics card to accelerate rendering. This acceleration of effects using CUDA technology is a component of the high-performance Mercury playback engine in Premiere Pro.
277 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • Edge Feather • Extract • Fast Color Corrector • Gamma Correction • Garbage Matte (4, 8, 16) • Gaussian Blur .
278 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 High-bit-depth effects Premiere Pro includes some video effects and transitions that support high-bit-depth processing.
279 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: Acceleration is available for an accelerated effect only when a supported video card is installed. If a supported video card is not installed, the Accelerated Effects filter button still functions.
280 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 2 In the Effect Controls panel, click the triangle to show options for any effect, and then specify the option values.
281 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Remove all effects from a clip 1 Select the clip in a Timeline panel. To make sure that only one clip is selected, click an empty space in the Timeline, then click the clip.
282 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Effect Controls panel A. Sequence name B. Clip name C. Show/Hide Timeline View button D. Timeline view E. Effect Controls panel menu F. Current -time indicator By default, the timeline view is hidden, but you can show it by clicking the Show/Hide Timeline View button .
283 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: It is not necessary to position the current-time indicator over a clip to activate the Effect Controls panel. • To expand or collapse video or audio effects headings, click the Show/Hide button in the heading.
284 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • To reset an effect’s properties to their default settings, click the Reset button next to the effect. All properties that don’t contain keyframes are reset to their default values.
285 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 An effect can be applied pre-fader or post-fader. The difference is whether the effect is applied before or after the application of the track’s fader. Effects are pre-fader by default.
286 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 3 Click the menu at the top left corner of the clip in the audio track (it appears with Track:Volume as the default selection); then choose the effect name and property from the menu.
287 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 If you previously installed a VST-compatible application other than Premiere Pro, Premiere Pro finds VST effects in the VST folder that already exists.
288 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Select a preset for a VST effect ❖ Right-click (Windows) or Control-click (Mac OS) the effect name in the Effects And Sends panel of the Audio Mixer, and choose a preset listed at the bottom of the menu.
289 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 2 Do any of the following: • To fade in a clip’s audio, drag an audio transition from the Effects panel to a Timeline panel so that it snaps to the In point of the audio clip.
290 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics “ Find and group effects ” on page 278 Create and save an effect preset 1 In a Timeline, select the clip that uses one or more effects with the settings that you want to save as a preset.
291 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Work with a custom bins and preset bins Use custom bins to store your favorite effects, transitions, and presets in one place. You can create any number of custom and preset bins.
292 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Fade in video 1 To fade a video clip in, or fade up from black, select a clip in a Timeline panel. 2 Do one of the following: • apply a dissolve transition to the beginning of the clip, • keyframe the opacity of the clip to start at zero and increase to 100%.
293 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 2 In the Effect Controls panel, click the triangle next to Lighting to expose the Lightning controls. 3 Experiment with different combinations of settings for these three controls.
294 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 You can adjust the position, scale, and rotation of a clip and Lighting Effects lights by directly manipulating handles in the Program Monitor. You can also adjust the properties using the controls in the Effect Controls panel.
295 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 2 Open the Effect Controls panel. 3 Click on the arrow next to the Motion effect to reveal the motion controls. 4 Click on the arrow next to the Scale control within the Motion effect to reveal the Scale slider.
296 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics “ Adjust position, scale, and rotation ” on page 293 “ About interpolation ” on page 424 “ Contro.
297 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Change Position keyframes in a motion path You can change the value of a Position keyframe, and thereby adjust your motion path, simply by dragging the Position keyframe (indicated by a white X) in the Program Monitor.
298 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 The clip anchor point in the Program Monitor 3 Select the Effect Controls tab, and, if necessary, click the triangle next to the Motion heading to open the Motion controls.
299 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics “ Choose fields in the Source and Program Monitors ” on page 126 Duration and speed View the total duration of selected clips 1 Make sure that the Info panel is visible.
300 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 You can use frame blending to smooth the appearance of a speed effect that changes the time or frame rate of a clip. To enable frame blending, choose Clip > Video Options > Frame Blend.
301 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Change clip speed and duration with Time Remapping You can change the speed of the video portion of a whole clip. You can use Time Remapping to create slow motion and fast motion effects in which the rate of speed varies.
302 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Footage is displayed at constant speed in one direction. Time-remapping distorts time for range of frames within clip. Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips.
303 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics Slow motion and time remapping “ Add markers ” on page 210 Creative COW: Time Remapping In Premiere Pro CS3 Vary change to clip speed 1 In a Timeline panel, click the Clip Effect menu and choose Time Remapping > Speed.
304 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Blue curve control in gray area between halves of a speed keyframe 5 (Optional) To change the acceleration or deceleration of the speed change, drag either of the handles on the curve control.
305 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 3 Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end. A tool tip shows the speed as a negative percentage of the original speed.
306 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Dragging a curve control handle to ease in a speed change Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline.
307 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Choosing Time Remapping > Speed from a video effect control A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation.
308 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Dragging a curve control handle to ease in a speed change to a freeze frame Freeze a video frame for the duration of a clip You can freeze on the clip’s In point, Out point, or at marker 0 (zero), if present.
309 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Interlacing and field order Interlaced video, noninterlaced video, and progressive scanning Interlaced scanning of interlaced video fields compared with progressive scanning of noninterlaced video frame.
310 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 About field dominance and field reversal Fields in a clip can become reversed from the state in which they were originally a.
311 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics “ Blend frames for smooth motion ” on page 306 “ Change sequence settings ” on page 148 “ Choose .
312 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 You apply the Color Correction effects to a clip the same way you apply all Standard effects. The effect properties are adjusted in the Effect Controls panel. The Color Correction effects and other color effects are clip-based.
313 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 To see a before and after comparison of your color correction, you can either display the master clip in the Source Monitor for comparison with the Program Monitor, or you can select the Split Screen Preview option in the Color Correction effects.
314 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 6 (Optional) Use the Tonal Range Definition control to define the shadow, midtone, and highlight areas in the clip. You can choose Tonal Range from the Output menu to view the tonal ranges you defined.
315 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 4 Select the White Balance eyedropper and click to sample an area in the Program Monitor.
316 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Color balance, angle, and saturation controls The Fast Color Corrector and the Three-way Color Corrector effects offer Hue Balance and Angle color wheels and a Saturation control for balancing color in your video.
317 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Desaturated image (left); Saturated image (right) More Help topics “ Vectorscope ” on page 131 Adjust color balance and saturation Although the following procedure uses the color wheel adjustments.
318 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • To shift the colors toward a target color with gain and magnitude adjustment, drag the Balance Magnitude circle out from the center toward the color you want introduced into the image.
319 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 4 (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu. This option affects only the preview in the Program Monitor; it doesn’t remove the color from the video.
320 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Adjust luminance using levels The Fast Color Corrector and the Three-way Color Corrector effects have Input Levels and Output Levels controls to adjust the luminance in a clip.
321 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Original image (left); blacks and whites corrected to broadcast limits (right) 8 Use the following controls to set the black, gray, and white input levels: Black Level eyedropper Maps the sampled tone to the setting of the Black Output slider.
322 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 In the Adobe Color Picker, you can select colors based on the HSB (hue, saturation, brightness), RGB (red, green, blue), HSL.
323 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 3 Do any of the following: • Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum. • Click or drag inside the large square color spectrum to select a color.
324 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Choosing Tonal Range from Output menu to display shadow, midtone, and highlight regions in image. Specify a color or range of colors to adjust The Secondary Color Correction property specifies the color range to be corrected by an effect.
325 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 6 (Optional) Choose Mask from the Output menu to view the areas selected for adjustment. White represents areas that allow 100% color correction, and black represents areas protected (masked) from color correction.
326 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 4 In the Effect Controls panel, click the Setup icon for the Color Replace effect. 5 In the Color Replace Settings dialog box, move the pointer over the Clip Sample image so it becomes an eyedropper, and then click to choose the color to be replaced.
327 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 3 Decrease or increase a channel’s contribution to the output channel by doing any of the following to a source color channel: • Scrub an underlined value to the left or right.
328 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: Convolution presets are found in the Effects panel’s preset category in a sub-category called “Convolution Kernal.” In this sub-category, there are presets that all have “Convolution Kernal” at the beginning of the name.
329 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 If a clip is already selected in a Timeline panel, you can drag the Lighting Effects directly to the Video Effects section of the Effect Controls panel. 2 In the Effect Controls panel, click the triangle to expand the Lighting Effects.
330 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Surface Gloss Determines how much the surface reflects light (as on the surface of a piece of photographic paper) from –100 (low reflectance) to 100 (high reflectance).
331 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 By default, placing one clip next to another in a Timeline panel results in a cut , where the last frame of one clip is simply followed by the first frame of the next.
332 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 In some cases, the source media may not contain enough frames for clip handles. If you apply a transition, and the handle duration is too short to cover the transition duration, an alert appears to warn you that frames will be repeated to cover the duration.
333 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Types of transitions A. Double-sided transition using duplicate frames B. Double-sided transition C. Single-sided transition Note: If a double-sided transition must repeat frames (rather than use trimmed frames), the transition icon contains additional diagonal lines.
334 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Apply a single-sided transition 1 In the Effects panel, find the transition you want to apply. You’ll need to expand the Video Transitions bin, and then expand the bin containing the transition you want to use.
335 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: You can add the default video transition between clips in a video track by pressing Ctrl+D (Windows) or Command+D (Mac OS). You can add the default audio transition between two clips in an audio track by pressing Ctrl+Shift+D (Windows) or Command+Shift+D (Mac OS).
336 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Transition in Effect Controls panel A. Play The Transition button B. Transition preview C. Edge selector D. Clip previews E. Start and End sliders F. Clip A (first clip) G. Transition H.
337 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel 1 Double-click the transition in a Timeline panel to open the Effect Controls panel.
338 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 2 If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel. If necessary, widen the panel to make this button visible and active.
339 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Default center (left) and repositioned center (right) Change transition settings 1 In a Timeline panel, click a transition to select it. 2 In the Effect Controls panel, adjust settings: Edge selectors Change the orientation or direction of the transition.
340 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • “ Camera Blur effect (Windows only) ” on page 347 • “ Channel Blur effect ” on page 347 • “ Compound Blur .
341 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Distort effects • “ Bend effect (Windows only) ” on page 366 • “ Corner Pin effect ” on page 366 • “ Lens Di.
342 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • “ Chromakey with the Ultra Key effect ” on page 380 • “ Color Key effect ” on page 381 • “ Difference Matt.
343 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • “ Threshold effect ” on page 397 Time effects • “ Echo effect ” on page 398 • “ Posterize Time effect ” .
344 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Adjust effects Auto Color, Auto Contrast, and Auto Levels effects The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip. Auto Color adjusts contrast and color by neutralizing the midtones and clipping the white and black pixels.
345 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Convolution Kernel pixel grid, showing the position of each control in the matrix More Help topics “ Adjust edges, blurs a.
346 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Shadow/Highlight effect The Shadow/Highlight effect brightens shadowed subjects in an image and reduces the highlights in an image. This effect doesn’t darken or lighten an entire image; it adjusts the shadows and highlights independently, based on the surrounding pixels.
347 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Midtone Contrast The amount of contrast that the effect applies to the midtones. Higher values increase the contrast in the midtones alone, while concurrently darkening the shadows and lightening the highlights.
348 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Original (left), blur layer (center), and result (right) Maximum Blur The maximum amount, in pixels, that any part of the affected clip can be blurred.
349 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Ghosting effect (Windows only) The Ghosting effect overlays transparencies of the immediately preceding frames on the current frame. This effect can be useful, for example, when you want to show the motion path of a moving object, such as a bouncing ball.
350 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Blend effect The Blend effect blends two clips using one of five modes. After you blend clips using this effect, disable the clip you selected from the Blend With Layer menu. Select the clip and choose Clip > Enable.
351 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Stretch Second Layer To Fit Stretches the second video track to the dimensions of the original clip before blending. Deselect this option to center the second video track on the original clip.
352 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Set Matte effect The Set Matte effect replaces the alpha channel (matte) of a clip with a channel from a clip in a different video track. This creates traveling matte results.
353 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Brightness & Contrast effect The Brightness & Contrast effect adjusts the brightness and contrast of an entire clip. The default value of 0.0 indicates that no change is made.
354 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Match Colors Determines the color space in which to compare colors to determine similarity. RGB compares colors in an RGB color space. Hue compares on the hues of colors, ignoring saturation and brightness—so bright red and light pink match, for example.
355 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Channel Mixer effect The Channel Mixer effect modifies a color channel by using a mix of the current color channels.
356 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Equalize effect The Equalize effect alters an image’s pixel values to produce a more consistent brightness or color component distribution. The effect works similarly to the Equalize command in Adobe Photoshop.
357 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Balance Gain Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. Balance Angle Controls the selection of desired hue value.
358 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Original image (left), and with effect applied (right) Amount To Decolor How much color to remove. 100% causes areas of the image dissimilar to the selected color to appear as shades of gray.
359 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Pedestal Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness. Gain Affects the overall contrast ratio of an image by adjusting brightness values by multiplication.
360 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 range, and use the - Eyedropper tool to subtract from the color range. You can also click the swatch to open the Adobe Color Picker and select the center color. Hue, Saturation, and Luma Specify the color range to be corrected by hue, saturation, or luminance.
361 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Pedestal Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness. Gain Affects the overall contrast ratio of an image by adjusting brightness values by multiplication.
362 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Here's a link to a tutorial on www.premierepro.net that shows advanced color grading in Premiere Pro CS5.
363 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Three-Way Color Corrector effect The Three-Way Color Corrector effect lets you make subtle corrections by adjusting a clip’s hue, saturation, and brightness for the shadow, midtones, and highlights.
364 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Highlight/Midtones/Shadows Balance Gain Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. The adjustment can be applied to highlights, midtones, and shadows.
365 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Hue, Saturation, and Luma Specify the color range to be corrected by hue, saturation, or luminance. Click the triangle next to the option name to access the threshold and softness (feathering) controls to define the hue, saturation, or luminance range.
366 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Chroma Min Specifies the lowest saturation for the colors in an image. Chroma Max Specifies the maximum saturation for the colors in an image. Signal Min Specifies the minimum video signal including both brightness and saturation.
367 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Original image (left), corner moved (center), and final image (right) Lens Distortion effect (Windows only) The Lens Distortion effect simulates a distorted lens through which the clip is viewed.
368 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Opacity The opacity of the magnified area, as a percentage of the opacity of the original clip. Scaling The type of scaling used to magnify the image: • Standard This method maintains sharpness in the image but produces pixelated edges at higher values.
369 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Turbulent Displace effect The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image. For example, use it to create flowing water, funhouse mirrors, and waving flags.
370 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Twirl effect The Twirl effect distorts an image by rotating a clip around its center. The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings.
371 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Cell Pattern effect The Cell Pattern effect generates cellular patterns based on cellular noise.
372 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • Cycle The number of revolutions of the Evolution setting that the cell pattern cycles through before it repeats. The timing of the Evolution cycles is determined by the amount of time between Evolution keyframes.
373 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Feather The thickness of the feather. Invert Circle Inverts the matte. Blending Mode The blend mode used to combine the shape and the original clip. The default None displays only the shape, without the original clip.
374 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Grid effect Use the Grid effect to create a customizable grid. Render this grid in a color matte or as a mask in the alpha channel of the source clip. This effect is good for generating design elements and mattes within which other effects can be applied.
375 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Segments The number of segments that form the main lightning bolt. Higher values produce more detail but reduce the smoothness of motion. Amplitude The size of undulations in the lightning bolt as a percentage of the clip width.
376 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Jeff Sengstack explains how to use the Paint Bucket effect to change the color of an object in this lynda.com video from his tutorial -- Premiere Pro: Color Correction and Enhancement.
377 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: If you apply multiple instances of Paint Bucket to a clip, be sure not to set more than one to use the Fill Only blend mode. If you set more than one instance to use this blend mode, only the first application of the effect is shown.
378 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 More Help topics “ Adding, navigating, and setting keyframes ” on page 415 Image Control effects Black & White effect The Black & White effect converts any color clip to grayscale; that is, colors appear as shades of gray.
379 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Invert Alpha Reverses the transparency and opaque areas of the clip. Mask Only Applies the effect only to a masked area. Blue Screen Key effect (Windows only) The Blue Screen Key effect creates transparency from true chroma blue.
380 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Blend Blends the clip you are keying out with the underlying clip. Higher values blend more of the clip. Threshold Controls the amount of shadows in the range of color you keyed out.
381 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Pedestal Filters out noise, often caused by grainy or low light footage, from the alpha channel. Values range from 0 through 100. The default value is 10. 0 does not affect the image.
382 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Difference Matte effect The Difference Matte effect creates transparency by comparing a source clip with a difference clip, and then keying out pixels in the source image that match both the position and color in the difference image.
383 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 9 From the Difference Layer drop-down menu, select the track that contains the matte frame.
384 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 6 Do any of the following to adjust the mask shape: • With the Garbage Matte effect selected in the Effect Controls panel, drag the Garbage Matte handles in the Program Monitor.
385 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 6 In the Effect Controls panel, click the triangle to expand the Image Matte Key settings. 7 Click the Setup button , browse to the image being used as the matte, and then click Open to select the image.
386 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Non Red Key effect The Non Red Key effect creates transparency from green or blue backgrounds. This key is similar to the Blue Screen Key effect, but it also lets you blend two clips.
387 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Remove Matte effect The Remove Matte effect removes color fringes from clips that are premultiplied with a color. It is useful when combining alpha channels with fill textures from separate files.
388 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Move or change the transparent area with Track Matte Key The Track Matte Key reveals one clip (background clip) through another (superimposed clip), using a third file as a matte that creates transparent areas in the superimposed clip.
389 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Matte Luma Composites using the track matte clip’s luminance values. 10 (Optional) Select the Reverse option to invert the values of the track matte clip. To retain the original colors in the superimposed clip, use a grayscale image for the matte.
390 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Noise effect The Noise effect randomly changes pixel values throughout the image. Amount Of Noise The amount of noise to add. Noise Type Use Color Noise to add random values to the red, green, and blue channels individually.
391 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Noise HLS and Noise HLS Auto effects The Noise HLS effect generates static noise in clips that use still or moving source footage. The Noise HLS Auto effect automatically creates animated noise.
392 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Basic 3D effect: Swivel (left), Swivel and Tilt (center), and Swivel, Tilt, and Distance (right) Swivel Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of the image, which is the mirror image of the front.
393 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 To render the shadow without the image, select Shadow Only. Note: Because Drop Shadow works best when it’s the last effect rendered, apply this effect after applying all other effects.
394 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 result, and the Shadow Color value determines the shadow’s color. Decreasing the Color Influence value blends the colors of the clip in the shadow with the Shadow Color. Increasing Color Influence reduces the influence of the Shadow Color.
395 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • Paint On Transparent Causes only the strokes themselves to appear, leaving the clip transparent between the strokes. • Paint On White/Paint On Black Applies strokes over a white or black background.
396 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Replicate effect The Replicate effect divides the screen into tiles and displays the whole image in each tile. Set the number of tiles per column and row by dragging the slider.
397 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Note: Create new roughness animations by reusing previously created Evolution cycles and changing only the Random Seed value. Using a new Random Seed value alters the noise pattern without disturbing the evolution animation.
398 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Effect applied with threshold settings of 44 (left), 70 (center), and 200 (right) Time effects Echo effect The Echo effect combines frames from different times in a clip. The Echo effect has a variety of uses, from a simple visual echo to streaking and smearing effects.
399 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • Composite In Front Uses the echoes’ alpha channels to composite them front to back. • Blend Averages the echoes. Posterize Time effect The Posterize Time effect locks a clip to a specific frame rate.
400 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Horizontal Flip effect The Horizontal Flip effect reverses each frame in a clip from left to right; however, the clip still plays in a forward direction.
401 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator. Transition Softness The degree to which the transition is gradual for each pixel.
402 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Radial Wipe effect The Radial Wipe effect reveals an underlying clip using a wipe that circles around a specified point. Start Angle The angle at which the transition starts. With a start angle of 0°, the transition starts at the top.
403 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 10 Bit White Point The white point (maximum density) for converting a 10-bpc logarithmic Cineon clip. Internal White Point The white point used for the clip in Premiere Pro. Gamma Increase or decrease Gamma to lighten or darken midtones, respectively.
404 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Cross Dissolve transition Cross Dissolve fades out clip A while fading in clip B. Cross dissolve can also work well at the beginning or end of a clip when you want to fade in or out from black.
405 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • “ Channel Volume effect ” on page 406 • “ Chorus effect ” on page 406 • “ DeClicker effect ” on page 407.
406 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips.
407 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 • Mix Determines the ratio of Dry and Effects signal. A setting of 100% corresponds to a ratio of 1/1 while a setting of 0 will defeat the effect signal. • Feedback Adds a percentage of processed voices back into the effect input.
408 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Male and Female Specifies the gender of the narrator or vocalist. This option helps the effect to adapt to the difference in tone between genders. DeHummer effect The DeHummer effect removes unwanted 50 Hz / 60-Hz hum from the audio.
409 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 speaker stops, thereby removing all other sounds. The LED display colors indicate the gate’s mode: open (green), attack or release (yellow), and closed (red).
410 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 EQ effect The EQ effect acts as a parametric equalizer, meaning that it controls frequency, bandwidth, and level using multiple bands. The effect includes three fully parametric mid bands, a high band, and a low band.
411 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Highpass and Lowpass effects The Highpass effect removes frequencies below the specified Cutoff frequency. The Lowpass effect eliminates frequencies above the specified Cutoff frequency.
412 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Notch effect The Notch effect removes frequencies that are near the specified center. This effects is available for 5.1, stereo, or mono clips. Center Specifies the frequency to be removed.
413 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Formant Preserve Prevents formants in the audio clip from being affected. For example, use this control when increasing the pitch of a high voice to prevent it from sounding cartoon-like.
414 USING ADOBE PREMIERE PRO Effects and transitions Last updated 1/16/2012 Volume effect Use the Volume effect in place of the Fixed Volume effect if you want to render Volume before other Standard effects. The Volume effect creates an envelope for a clip so that you can increase the audio level without clipping.
415 Last updated 1/16/2012 Chapter 12: Animation and keyframes Adding, navigating, and setting keyframes To animate a property is to change its value over time.
416 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Effect Controls A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel.
417 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Keyframe tool tip A. Timecode B. Property value 1 (Optional) If the track is collapsed, click the triangle to the left of the track name to expand it.
418 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Choosing from the effects menu 7 Place the pointer directly over a keyframe to view its property in a tool tip. The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel.
419 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Add, select, and delete keyframes Add keyframes You can add keyframes in the Timeline or the Effect Controls panel at the current time. Use the Toggle Animation button in the Effect Controls panel to activate the keyframing process.
420 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 More Help topics “ View keyframes and graphs ” on page 415 “ Adjust or reset controls in the Effect Controls panel ”.
421 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Edit keyframe graphs in the Effect Controls panel Once you activate keyframing for an effect’s property, you can display the effect’s Value and Velocity graphs.
422 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 • Position the Selection or Pen tool over a keyframe or keyframe segment. The Selection or Pen tool changes to the keyframe pointer or keyframe segment pointer . 6 Do any combination of the following: • Drag a keyframe or segment up or down to change the value.
423 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Copy and paste keyframes in the Effect Controls panel When you paste keyframes into another clip, they appear in the corresponding property in the target clip’s effect in the Effect Controls panel.
424 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Controlling effect changes using keyframe interpolation About interpolation Interpolation is the process of filling in the unknown data between two known values. In digital video and film, this usually means generating new values between two keyframes.
425 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Changing keyframe interpolation for the Position property of the Motion effect A Linear spatial keyframe B. Auto Bezier interpolation C. Continuous Bezier interpolation 1 Do one of the following: • In the Effect Controls panel, right-click a keyframe marker.
426 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Create Bezier keyframes 1 In a Timeline panel, select the clip containing the keyframes you want to adjust, and then do one of the following: • (Timeline panel) Choose the property you want to adjust from the effect menu next to the clip or track name.
427 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Velocity graph A. Speed controls B. Incoming direction handles C. Outgoing direction handles 1 In the Effect Controls panel, click the triangle to expand the effect property with keyframes that you want to adjust.
428 USING ADOBE PREMIERE PRO Animation and keyframes Last updated 1/16/2012 Optimize keyframe automation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance.
429 Last updated 1/16/2012 Chapter 13: Compositing Compositing, alpha channels, and adjusting clip opacity Adobe After Effects, another program in Adobe Creative Suite Production Premium, gives you a greatly expanded range of compositing tools. You can easily import composites made in After Effects into Premiere Pro.
430 USING ADOBE PREMIERE PRO Compositing Last updated 1/16/2012 A matte is a layer (or any of its channels) that defines the transparent areas of that layer or another layer.
431 USING ADOBE PREMIERE PRO Compositing Last updated 1/16/2012 Blend clips with a matte using the Track Matte Key effect You can blend clips with a matte (typically, a black and white image, or an image from the Titler.) using the Track Matte Key effect.
432 USING ADOBE PREMIERE PRO Compositing Last updated 1/16/2012 Blending modes You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks. For more information about the Subtract and Divide blend modes, see this video by Video2Brain .
433 USING ADOBE PREMIERE PRO Compositing Last updated 1/16/2012 Blending mode descriptions In the following descriptions, these terms are used: • The source color is the color of the layer to which the blend mode is applied. • The underlying color is the color of the composited layers below the source layer in the Timeline panel.
434 USING ADOBE PREMIERE PRO Compositing Last updated 1/16/2012 than 50% gray, the result color is darker than the underlying color, as if burned. A layer with pure black or white becomes markedly darker or lighter, but does not become pure black or white.
435 Last updated 1/16/2012 Chapter 14: Exporting Workflow and overview for exporting FAQ: "How do I export a movie for YouTube, Vimeo, iPad, iPhone, Apple TV?" FAQ: What’s the best export format or codec? Jeff Bellune provides an overview of the ways to export video from Premiere Pro on his website .
436 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Export formats for various devices and web sites Finally, using the Adobe Media Encoder, you can export video in formats suitable for devi.
437 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 By default, Adobe Media Encoder saves the exported file in the folder where the source file is located. Adobe Media Encoder appends the extension for the format specified to the end of the filename.
438 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 The workflow from P2 card to edit and back to P2 card is simple. Import the P2 clips into a project containing a 5.1- channel sequence. Map the source channels to their specified tracks. Place the clips into the sequence, or export them to P2.
439 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Exporting OMF files for Pro Tools You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open Media Format (OMF) file. DigiDesign Pro Tools imports OMF files, when the DigiTranslator feature is licensed.
440 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Encapsulate and Separate Audio options With the Encapsulate option, you can export a single, large, OMF file containing both audio and OMF metadata. With the Separate Audio option, you can export a smaller OMF file and a set of related, individual, external audio files.
441 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Export a still image For a video demonstrating the export of a frame, see the Adobe website . The Export Frame buttons in the Source Monitor and Program Monitor enable you to quickly export frames of video without using the Adobe Media Encoder.
442 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Send a sequence to Encore to create a DVD, Blu-ray Disc, or SWF Note: Before you begin, make sure that Encore is installed on the same computer as Premiere Pro. 1 In Premiere Pro, select a sequence.
443 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 You can export one video track and up to four audio channels, or two stereo tracks. 4 Specify the location and name for the EDL file, and click Save. 5 Click OK. Note: In Premiere Pro CS5.5 and later, merged clips are supported in standardized EDLs.
444 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 the source media, the plug-in stretches the audio clip to the same length as the rest of the source media. The plug-in begins at the StartTime, and places filler in the gap. You can fix these portions of the sequence manually in the Avid editing system.
445 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Exporting to videotape You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape. When you start a new sequence, you specify the format and quality for the videotape in the Editing Mode area of the New Sequence dialog box.
446 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 DV 23.976i Specifies DV 24p (24 progressive) or 24pA (24 progressive advanced), which uses a timebase of 23.976 and interlaced fields (that become progressively scanned frames using a pulldown scheme).
447 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 7 If you don’t need to perform any more recordings after the Recording Successful message appears in the Status option, click Cancel to close the Export To Tape dialog box. Note: If you want to use device control but it’s unavailable, click Cancel.
448 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 You can export a movie from Adobe Premiere Pro directly into the FLV and F4V formats. You can choose from severalExport Settings presets. These presets balance file size against audio and video quality to achieve the bit rate needed for any target audience or device.
449 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Adobe Premiere Pro makes several FLV and F4V file presets available through the Export Settings dialog box. These include preset frame sizes and frame rates for the different television standards at different data rates.
450 USING ADOBE PREMIERE PRO Exporting Last updated 1/16/2012 Tips for creating video for mobile devices Use these tips when shooting content for mobile devices: • Tight shots are better. Try to keep the subject separated from the background; the colors and values between background and subject should not be too similar.
451 Last updated 1/16/2012 Chapter 15: Keyboard shortcuts Finding and customizing keyboard shortcuts Many commands have keyboard shortcut equivalents, so you can complete tasks with minimal use of the mouse. You can also create or edit keyboard shortcuts.
452 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 • Shortcuts For Final Cut Pro 7.0 3 In the Keyboard Customization dialog box, choose an option from the menu: Application Displays commands found in the menu bar, organized by category.
453 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 3 Select a set of keyboard shortcuts from the Set drop-down menu in the Keyboard Customization dialog or Keyboard Shortcuts in Premiere Pro CS5.5 (Mac OS). 4 Click the Clipboard button.
454 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Capture panel (keyboard shortcuts) Multi-Camera Monitor (keyboard shortcuts) Close active panel Ctrl+W (Windows), Command+W (Mac OS) Maximizes the panel under the mouse pointer, regardless of what is active or selected.
455 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Project panel (keyboard shortcuts) Timeline panel (keyboard shortcuts) Result Windows Mac OS Delete selection with options Ctrl+B.
456 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Clear Out point F F Edit audio or video In point or Out point independently Alt-drag In point or Out point Option-drag In point o.
457 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Play in reverse one frame at a time Hold K while pressing J Hold K while pressing J Play in reverse slowly (8 fps) Hold down K+J .
458 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Titler (keyboard shortcuts) Result Windows Mac OS Arc tool A A Decrease kerning by five units Alt+Shift+Left Arrow Option+Shift+L.
459 USING ADOBE PREMIERE PRO Keyboard shortcuts Last updated 1/16/2012 Trim panel (keyboard shortcuts) Effect Controls panel (keyboard shortcuts) Rectangle tool R R Rotation tool O O Selection tool V .
デバイスAdobe Premiere Pro CS5の購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Adobe Premiere Pro CS5をまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはAdobe Premiere Pro CS5の技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Adobe Premiere Pro CS5の取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Adobe Premiere Pro CS5で得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Adobe Premiere Pro CS5を既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はAdobe Premiere Pro CS5の不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Adobe Premiere Pro CS5に関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちAdobe Premiere Pro CS5デバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
