Adobe PREMIERE 5 User Manual

User Guide

Adobe

®

Premiere

®

5.0

© 1998 Adobe Systems Incorporated. All Rights Reserved. Patent pending.
All PhotoDisc images: © 1997 PhotoDisc, Inc.
This manual, as well as the software described in it, is furnished under lic ense and ma y only be used or copied in ac co rdanc e

with the terms of such license. The information in this manual is furnished for informational use only, is subject to change
without notice, and should not be construed as a commitment by A dobe Syst ems Incorporated. Adobe S ystems Inco rporated
assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.

Except as permitted by such license, no part of this publication may be reproduc ed, stored in a retrieval system, or transmit­ted, in any form or by any means, electronic, mechanical, recording, or otherwise, without the prior written permission of
Adobe Systems Incorporated.

Please remember that existing movies, sounds, or images that you may want to use in your project may be protected under
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copyright owner. Please be sure to obtain any permission required from such authors.

Adobe, the Adobe Logo, Adobe Premiere, After Effects, Classroom in a Book, Illustrator, PageMaker, Photoshop, and Post­Script are trademarks of Adobe Systems Incorporated, registered in certain jurisdictions. Apple, Macintosh, Power Macin­tosh, Mac OS, Fir eWire, and QuickTime are registered trademarks of Apple Comput er, Inc., registered in the U.S. and other
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the United States.

Printed in the USA.

Part number: 90011307 (4/98)

Contents

iii

Getting Started with
Adobe Premiere 5.0

A Tour of
Adobe Premiere

About this guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Windows 95/Windows NT 4.0 systems requirements . . . . . . . . . 2

Power Macintosh system requirements . . . . . . . . . . . . . . . . . . . . 3

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

The Premiere package contents . . . . . . . . . . . . . . . . . . . . . . . . . 4

Contents of the Premiere discs . . . . . . . . . . . . . . . . . . . . . . . . . . 4

About Adobe products and services . . . . . . . . . . . . . . . . . . . . . . 6

Using Online Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Installing Adobe Premiere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

What’s New in Adobe Premiere 5.0 . . . . . . . . . . . . . . . . . . . . . . 7

Creating the bicycle advertisement: first steps . . . . . . . . . . . . . . 15

Specifying project settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Importing the clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Creating a rough cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Previewing in the Monitor window . . . . . . . . . . . . . . . . . . . . . . 23

Trimming clips in the Monitor window . . . . . . . . . . . . . . . . . . . 24

Adding audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Trimming clips in the Timeline window . . . . . . . . . . . . . . . . . . . 29

Adding a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Previewing transitions and other effects . . . . . . . . . . . . . . . . . . 34

Splitting a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Changing the speed of a clip . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Changing a clip’s opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Adding special effects to a video clip . . . . . . . . . . . . . . . . . . . . 42

Superimposing an image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Animating a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Exporting the movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

iv

CONTENTS

Working with Projects

Preparing and Importing
Source Clips

Starting a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Specifying project settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Saving and autosaving a project . . . . . . . . . . . . . . . . . . . . . . . . 66

Opening a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Removing unused frames from source clips . . . . . . . . . . . . . . . . 69

Using a Premiere project on another platform . . . . . . . . . . . . . . 70

Setting up Premiere’s scratch disks . . . . . . . . . . . . . . . . . . . . . . 71

Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Working with windows in Premiere . . . . . . . . . . . . . . . . . . . . . 74

Setting up windows that resemble earlier Premiere versions . . . 74

Saving window positions (Mac OS only) . . . . . . . . . . . . . . . . . . 76

Organizing clips using bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Storing clips and bins in libraries . . . . . . . . . . . . . . . . . . . . . . . 78

Customizing a Project, Bin, or Library window display . . . . . . . . 79

Naming, finding, and deleting items . . . . . . . . . . . . . . . . . . . . . 82

Printing window contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Creating a text list of project or library files . . . . . . . . . . . . . . . . 83

Changing the startup window . . . . . . . . . . . . . . . . . . . . . . . . . 84

Working with palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Capturing video for offline and online editing . . . . . . . . . . . . . . 92

Preparing for video capture . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Capturing video without device control . . . . . . . . . . . . . . . . . . . 96

Capturing video with device control . . . . . . . . . . . . . . . . . . . . . 97

Batch-capturing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Reading timecode from source video . . . . . . . . . . . . . . . . . . . 105

Capturing stop-motion animation . . . . . . . . . . . . . . . . . . . . . . 111

Capturing analog audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Capturing digital video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Importing digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Importing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Importing another project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Using offline files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Creating a counting leader . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Analyzing clip properties and data rate . . . . . . . . . . . . . . . . . . 127

v

Editing Video

Adding Transitions

Mixing Audio

Using the Monitor window . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Using the Timeline window . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Editing In and Out points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Using named subclips and unnamed instances of clips . . . . . . 152

Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Editing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Editing a video program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Previewing a video program . . . . . . . . . . . . . . . . . . . . . . . . . . 192

About transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Using the Transitions palette . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Creating transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Changing transition settings . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Creating Custom Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Understanding how Premiere processes audio . . . . . . . . . . . . 217

Adjusting gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Fading and cross-fading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Panning a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Viewing audio clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Applying audio filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Audio filters included with Premiere . . . . . . . . . . . . . . . . . . . . 229

Creating Titles

Creating a new title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Setting up the Title window . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Creating rolling and crawling text . . . . . . . . . . . . . . . . . . . . . . 242

Creating graphic objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Adding a shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Using color, transparency, and gradients . . . . . . . . . . . . . . . . . 249

Using the Color Picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Setting default text and graphic attributes . . . . . . . . . . . . . . . 253

Arranging text and graphic objects . . . . . . . . . . . . . . . . . . . . . 254

Adding a title to a project . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

vi

CONTENTS

Superimposing and
Compositing with
Transparency

Animating a Clip

Applying Video Filters

Producing Final Video

About transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Using the Fade control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Using keys for composites and superimposing . . . . . . . . . . . . . 263

Superimposing two or more clips . . . . . . . . . . . . . . . . . . . . . . 273

Adding a background matte . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Creating garbage mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Creating split screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Moving a clip across the frame . . . . . . . . . . . . . . . . . . . . . . . . 279

Rotating, zooming, delaying, and distorting . . . . . . . . . . . . . . 284

Specifying an exact time for motion . . . . . . . . . . . . . . . . . . . . 286

Saving, loading, and deleting motion settings . . . . . . . . . . . . . 288

About video filters and keyframes . . . . . . . . . . . . . . . . . . . . . . 291

Applying video filters to a clip . . . . . . . . . . . . . . . . . . . . . . . . 292

Applying multiple filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

About output settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Specifying compression for final video . . . . . . . . . . . . . . . . . . 298

File types available for exporting . . . . . . . . . . . . . . . . . . . . . . 303

Exporting video files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Creating a videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

About creating a video file for CD-ROM playback . . . . . . . . . . 313

About creating a video file for the Internet . . . . . . . . . . . . . . . 314

About creating a video file for use in other software . . . . . . . . 316

Exporting an edit decision list . . . . . . . . . . . . . . . . . . . . . . . . . 317

Creating a sequence of still images . . . . . . . . . . . . . . . . . . . . . 325

Creating a filmstrip file for editing in Photoshop . . . . . . . . . . . 326

Exporting a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Creating a sequence of video files . . . . . . . . . . . . . . . . . . . . . 329

About creating motion-picture film . . . . . . . . . . . . . . . . . . . . . 330

Processing a batch of projects . . . . . . . . . . . . . . . . . . . . . . . . 331

vii

Measuring
Time and Frame Size

Compressing
Video and Audio

Maximizing Performance

Troubleshooting

Measuring time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Understanding timecode and time display options . . . . . . . . . 339

Comparing interlaced and non-interlaced video . . . . . . . . . . . 341

Measuring frame size and resolution . . . . . . . . . . . . . . . . . . . 344

Understanding scenarios that affect compression . . . . . . . . . . 347

About video compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Finding an appropriate codec . . . . . . . . . . . . . . . . . . . . . . . . . 352

Preserving quality and performance during video capture . . . . 359

Techniques for faster editing . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Maintaining edited projects . . . . . . . . . . . . . . . . . . . . . . . . . . 364

General problems when capturing video . . . . . . . . . . . . . . . . . 365

General operating problems . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Common problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Getting Started with Adobe
Premiere 5.0

elcome to Adobe Premiere—software that brings the world of digital movie
making to the desktop. Premiere lets you record, create, and play video programs
using video, sound, animations, photographs, drawings, text, and other material



on your Windows

or Power Macintosh computer.

ADOBE PREMIERE 5.0

User Guide

1

Y ou can pla y movies created in P remiere in any application that s upports the Apple QuickT ime
format or (in Windows only) the DirectShow
a number of ways, including to videotape, to an Edit Decision List (EDL), or to MPEG or
Animated GIF format.

™

format, or you can output video programs in

About this guide

The

Adobe Premiere User Guide

designed to be used as a reference tool in your everyday work with Premiere. This manual
provides instructions for using Premiere on both Windows and Mac
differences in Premiere procedures between operating systems are noted in the text.

This book assumes you have a wo rking kno wledge of your operating system and its c onven­tions, including how to use a mouse and standar d menus and dialog bo x es and how to o pen,
save, and close files. For help with any of these techniques, please see your Windows or
Mac OS documentation.

provides detailed information about using Premiere. It is

OS systems. Any

2

Getting Started with Adobe Premiere 5.0

Windows 95/Windows NT 4.0 systems requirements

The following hardware and software are required to run Adobe Premiere:

Intel Pentium processor or 100% compatible

•

Microsoft Windows 95 or Windows NT 4.0 (or later versions) operating system

•

32 MB of RAM installed

•

60 MB of available hard-disk space for installation (30 MB for application)

•

256-color display adapter and compatible monitor

•

CD-ROM drive

•

We recommend the following:

Multi-processor system (Windows NT only)

•

64 MB or more of RAM

•

Large capacity hard drive or hard-disk array

•

24-bit color display adapter

•

Microsoft Video for Windows-compatible or Apple QuickTime for Windows-compatible

•

video capture card

Apple QuickTime for Windows 3.0 (optionally installed with Premiere), Microsoft

•

DirectX
supported by your video-capture hardware

•

sound circuitry)



Media 5.1 (optionally installed with Premiere), or other video software

Sound card (recommended if your video capture card does not contain on-board

Power Macintosh system requirements

The following hardware and software are required to run Premiere:

PowerPC processor

•

System Software 7.5.5 or greater (or 7.5.1 with Radius VideoVision only)

•

16 MB of application RAM

•

30 MB of disk space for installation

•

CD-ROM drive

•

We recommend the following:

Multiprocessor system

•

QuickTime 3.0 (installed with Premiere)

•

48 MB or more of application RAM

•

Large capacity hard disk or hard-disk array

•

QuickTime-compatible video capture card

•

24-bit color display adapter

•

ADOBE PREMIERE 5.0

User Guide

3

Registration

We are confident you will find that the Premiere program greatly increases your productivity.
So that we can offer technical support and keep you informed about new Premiere software
developments, please register y our c op y b y r eturning the enclosed r egistration card. If you are
upgrading from a previous version of Premiere, the original registration card with your serial
number is still valid and you do not need to reregister the product.

4

Getting Started with Adobe Premiere 5.0

The Premiere package contents

The Premiere package includes the following software and documentation:

Two Adobe Premiere CD-ROM discs, described in the following section.

•

Adobe Premiere User Guide.

•

Adobe Premiere Quick Reference Card.

•

Registration card.

•

A card or brochure that details Adobe technical support policies and describes the ways

•

you can obtain technical support.

Adobe Acr obat Reader software, which allows you to view the online documentation and

•

third-party reference materials that have been sa ved as PDF (P ortable Document F ormat) files.

Contents of the Premiere discs

The Adobe Premiere Application CD-ROM disc contains the following:

The installer program

Installs the Adobe Premiere program and the video system software.

Other software included on the discs use their own installers.

Adobe Premiere
Video system software

Lets you capture, edit, and play back video.

Includes QuickTime (Windows and Macintosh) and DirectShow™

software (Windows only) to act as editing modes in Premiere.

Software from other manufacturers

Includes filters, special effects, compressors/decompr essors,

and device control modules.

ADOBE PREMIERE 5.0

User Guide

5

Adobe Premiere Software Developer’s Kit

Supplies complete support for developers interested

in writing plug-ins, filters, and other custom solutions for Premiere.

Adobe Type Library

Includes a number of T ype 1 fonts for your use. The fonts are not installed

automatically when you install Premiere.

Adobe Type Manager

Improves font displays on-screen, lets you print PostScript fonts on
non-PostScript printers, and lets you create customized instances of multiple master fonts.
You can install this utility separately.

Adobe Photoshop LE and tryout versions of other Adobe Systems applications

Let you explore
other Adobe software at no additional cost. Photoshop LE offers many of the features found
in the full retail version of Adobe Photoshop; you can install Photoshop LE and register the
product online or with the registration card you use for Premiere. Additional tryout versions



of Adobe products on the discs include Adobe After Effects



PageMaker

Tour movie and online tutorials

, and more.

Provide additional guides to help you learn Premiere. The tour

, Adobe Illustrator, Adobe

movie, which requires that you install the QuickTime software, demonstrates the key benefits
and new features of this version of Premiere. A subset of chapters from the



Classroom in a Book

publication features step-by-step instructions for creating video

Adobe Premiere

programs using sample audio and video clips, which are also available on the disc.
The Media Content CD-ROM disc contains:

Stock clips
Adobe Acrobat Reader software

Including professional images, clip media, and sound files from a variety of sources.

Lets you view the online documentation and third-party

reference material that have been saved as PDF (Portable Document Format) files.

6

Getting Started with Adobe Premiere 5.0

About Adobe products and services

For information about Adobe products and services, you can visit the Adobe site on the
World-Wide Web (http://www.adobe.com) if you have Internet access. You can also open
the Adobe Web site from within Premiere (provided you are connected to the Internet)
by choosing File > Adobe Online and clicking a link in the window that appears.

Note

: Your Premiere package includes printed instructions for obtaining technical support.

Adobe Systems training opportunities

Classroom in a Book is the official training series for Adobe graphics and publishing softwar e
developed by experts at Adobe and pub lished by Adobe Press. For information on purchasing

Adobe Premiere Classroom in a Book

800-428-5331 or http://mcp.com, or contact your local book distributor.
The Adobe Certification program offers end-users, instructors, and training c enters the oppor -

tunity to demonstrate their product proficiency and promote their software skills as Adobe
Certified Experts, Adobe Certified Instructors, or Adobe Authorized Learning Providers. Visit
the U.S. Web site at http://www.adobe.com to learn how you can become certified.

, contact Macmillan Computer Publishing in the U.S. at

Using online Help

The Premiere Help system contains all the information in this user guide, and more,
optimized for use online. The Help system also provides sections on keyboard shortcuts.

To get online Help:

Choose Help > Contents (Windows) or Help > Help Topics (Mac OS). You can also choose
a specific section of Help from the Help menu.

Installing Adobe Premiere

Use the following procedure to install the Premiere program files from the Adobe Premiere
Application CD-ROM. You cannot run Premiere from the CD-ROM; you must install the
program files onto your hard disk.

If you are upgrading from Premiere 4.2 or earlier, the installer creates a new folder for the
Premiere 5.0 files. Your current Premiere files are not affected. However, items such as
QuickTime and DirectShow may be updated unless you are using versions of these items
more recent than those on the Adobe Premiere Application CD-ROM disc.

ADOBE PREMIERE 5.0

To install Premiere:

1

Insert the Adobe Premiere Application CD-ROM disc into your CD-ROM drive.

2

Depending on your system, do one of the following:

(Windows) If a startup screen appears, choose Install Adobe Premiere. Otherwise,

•

use Explorer to locate and open the Premiere folder on the CD-ROM, and double-click
the Setup.exe file to begin the setup procedure.

(Mac OS) Double-click the Install Adobe Premiere icon to begin the installation process.

•

3

Follow the on-screen instructions until installation are complete.

Installing plug-in software modules

You can purchase or otherwise obtain updated or additional plug-in software from Adobe
or other manufacturers. Some plug-ins come with an installer you can run. If the plug-in
does not have an installer, you can install it easily by dragging.

To install additional plug-in software:

Make sure Pr emiere is not running, and drag the plug-in softwar e from its original location
to the Plug-ins folder inside the folder in which you installed Premiere.

User Guide

7

What’s new in Adobe Premiere 5.0

Premiere 5.0 includes dozens of new and improved features for creating and editing video
programs from your desktop. This version of Premiere also includes enhancements that
improve both quality and performance speed in such areas of the program as editing,
previewing, capturing, and outputting.

Timeline window

The new Timeline window replaces the Construction window of earlier versions of Premiere.
The Timeline provides a more intuitive and fluid interface for adding, displaying, and editing
the tracks in a project. Enhancements include the following:

8

Getting Started with Adobe Premiere 5.0

Powerful and flexible track layout

Hide and more easily lock tracks, target tracks for editing,
and even collapse subtracks (Video 1A, Video 1B and the transitions between them) into a
single track using new controls on the left side of the window. The new shy track feature lets
you hide a track while still including its clips in the final output. Many of these new concepts
and interface elements are modeled on those in the Lay ers palett e found in Adobe Photoshop,
Illustrator, and PageMaker.

Adding and deleting tracks

Use the Track Options dialog box (available from the Timeline

window menu) to add, delete, and rename tracks.

Moving to next and previous edits, and moving the edit line

Use buttons in the Monitor
window to move to previously established edit positions, or accomplish the same tasks using
the following shortcuts in the Timeline window: Control (Windows) or Command (Mac
OS) + Shift + the Left or Right arrow keys moves t o the next or previous edit points. Deselect
clips in the Timeline (by clicking any selected clip) and then press the Left or Right arrow
keys to move the edit line itself.

Rendered scrubs and alpha scrubs

Perform a rendered scrub (displaying frames with
applied effects and filters) by pressing Alt (W indo ws) or Option (M ac OS) while dragging
in the time ruler. If you also press the Shift key while scrubbing in this fashion, you can
preview effects involving alpha channels. Drag the edit line to display frames without
applied effects or filters.

Other interface improvements

See more clearly where filter and motion settings are applied
to clips, and see the name of any applied transparency type: This information is now
displayed on the clip representations in the Timeline window. All video tracks above the
Video 1 tracks are superimpose tracks—the topmost track in the window is foremost in
the video program.

ADOBE PREMIERE 5.0

Monitor window

The new Monitor window in effect combines the C lip, Preview , and Trimming windows of past
versions into a single window , better replicating a p rofessional video-editing suite. The window
includes two views: Source view for playing and editing individual clips, and P rogram view for
displaying the contents of the Timeline. The Monitor window has two modes, edit and trim.
Importantly, many of the essential editing tasks can now be accomplished with keyboard
shortcuts. Other related changes include:

User Guide

9

More precise and accessible trimming

Easily enter trim mode by pressing Control (Windows)

or Command (Mac OS) + T (or choose Trim Mode from the Monitor window menu).

Ganging, or synchronized playback

Preview how a source clip fits into the video program—
before adding it to the Timeline—by using the gang button in the Monitor window. This
synchronizes the source and program controllers and previews.

Insert, Overlay, Lift, and Extract buttons

Click buttons (or use keyboard equivalents) to accom-

plish these key editing tasks rather than dragging clips into the Timeline.

Flexible viewing options

T ake advantage of NTSC or P AL monit ors by collapsing (detaching the
controllers from the M onitor window). You can switch to single view mode which displays only
the selected view in the center of the window, and switch among acti v e c lips b y choosing their
names from a conv enient pop-up menu. Optionally, you can hav e clips open each in their o wn
separate clip window, just as in earlier versions of Premiere.

New project management and media management features

The Project window supports many new database fields you can use to categorize clips for
sorting and searching; Premiere now also provides user-defined fields. Display options in the
Project window have been improved, and you can now display text-only information about
your source material. Other organizational capabilities include a cleaner and more straight­forward handling of source clips (to avoid display of duplicate source clips for each instance
used in the Timeline), an auto-loading featur e (so that clips added t o the T imeline or M onitor
window become listed in the Project window), and the improved use of storage bins in the
Project window.

10

Getting Started with Adobe Premiere 5.0

A related improvement is project archiving: You can specify how often project files are saved
and whether to create separate files. Creating separate files lets you go back to different stages
of a project for reference, for back-up purposes, or to “undo” a stage of work in the project.

Improved titling

Premiere now supports two popular title effects: rolls (which move on-screen vertically) and
crawls (which move on-screen horizontally). You can set ease-in and ease-out points for both
effects, control their duration in seco nds and frames, and use masking t o make the type appear
or disappear at a specified location. For an y title, y ou no w can apply font, size, c olor, and other
type attributes to any range of characters within a text block.

Multiple keyframes for filters

Previously you had to split clips to apply a filter to a portion of a clip. But now you can easily
create multiple keyframes in a clip and apply different filter settings t o each one. The filter effect
can change over time within a single clip or be limited to a specific portion of the clip.

Long-format support

Premiere supports long-format editing capabilities with true 29.97 timebase support, the
ability to hold up to three hours of footage, new Slip and Slide editing tools, and a Navigator
palette (for quickly moving around in the Timeline without losing sight of the bigger picture).

New audio features

Improved sound editing and mixing provide the kinds of audio control available in an audio
studio. New and enhanced audio capabilities include:

Better audio processing

quality, thanks to the new Enhanced rate conversion settings. When you output audio, an
improved downsampling method delivers high-quality, low-data-rate playback. For Web
distribution, you can downsample certain sound files to 2 or 3 kHz.

Convert from one audio sample rate t o another without a loss in audio

ADOBE PREMIERE 5.0

User Guide

11

More audio filters

Enhance sound clips using any of Premiere’s 11 new filters, including

Reverb, Bass and Treble, Flanger, Multitap delay, and Chorus filters.

Panning and fading

Specify panning and fading using new controls added to Audio tracks
in the Timeline. The improved Timeline interface lets you show or hide the waveform
associated with audio clips.

New palettes and palette enhancements

Premiere now presents the Transitions and Info windows as floating int eractive palettes and
adds the Navigator palette t o the pr oduct. Palettes quickly display information and options
on-screen without interrupting the creative process and allo w for easy opening, closing, and
resizing. You can even group and dock palettes for more efficient handling.

The Navigator palette, modeled on the Adobe Photoshop feature, lets you see at a glance
where you are within a project by showing a miniature of the entire length of the project,
and a small display window highlighting the area currently visible in the Timeline. Simply
drag the highlighted area in the palette to move to a different portion of the Timeline.

The Windows version of Premiere now includes the Commands palette (introduced in the
Macintosh version of Premiere 4.2), which lets you turn the menu commands you use most
often into buttons you can click quickly in a floating palette; you can even load and save
custom sets of command buttons.

Better hardware and system software compatibility

As improvements in hardware and software throughout the industry make video-editing
ever more powerful and efficient, P remiere ’s capabilities lead the way. C apture card pr ofiles
are now included with Premiere project presets, so you can load them as needed for video
or audio capturing. Support for the Hardware Abstraction Layer (HAL) standard enables
developers to create or modify hardwar e drivers to accelerate features in P remiere, including
support for real-time effects (before rendering). Support for the latest versions of
QuickTime and DirectShow ensures that your work relies on the most prevalent
industry standards.

12

Getting Started with Adobe Premiere 5.0

Miscellaneous enhancements

Many of the new features in Premiere don’t get the visibility of other features used day in
and day out, but can greatly enhance your efficiency nonetheless. The following are just a
few of these other areas improved in this release:

Improved capturing

Crop at capture time (pro vided your capture board supports this) and view
important capture settings in the Info palette. Batch capturing now supports specified
timecode offset and trim handles in frames.

Cross-platform compatibility

Move projects and related files from one platform to another
with ease now that Mac OS and Windows versions of Premiere share the same code base.
Premiere includes cross-platform support for titles, pr ofiles, motion graphics, filters, story­boards, batch lists, libraries, and most system settings.

Integration with Adobe product family

Get up to speed fast thanks to an interface consist ent
with other Adobe products. If you’re familiar with software such as Photoshop, you’ll
appreciate the common look and feel, shared keyboard shortcuts, and features such as
tabbed palettes, support for Photoshop filters, and the ability to import Photoshop layers
individually. Also, EPS files from Adobe Illustrator are automatically rasterized when you
import them, just as they are in Photoshop. Premiere also anti-aliases Illustrator files
automatically at 2000x2000 pixels.

1

ADOBE PREMIERE 5.0

Chapter 1: A Tour of
Adobe Premiere

he tour in this chapter helps you understand and w ork with basic concepts and f eatures
of the Adobe Premiere program. You’ll run through a typical series of steps for creating

T

a video piece, including basic editing techniques, adding transitions, motion, and trans-

parency. Completing the video piece should take approximately one hour.
Y ou can pr eview the complete movie before you begin this lesson, or at any point along the way:

from the Explorer (Windo ws) or Finder (Mac OS), double-click the Tour.mov file in the Tour
folder in your Premiere folder (if you installed the Tour with Premiere) or on the Adobe
Premiere Application CD-ROM disc (if you did not install the Tour).

Note

: T o complete the tour or t o view the Tour.mov file, QuickT ime 2.5 or later must be installed
on your system. You can install QuickTime 3.0 with Premiere: For installation instructions,
see “Installing Adobe Premiere” on page 6.

User Guide

15

Creating the bicycle advertisement: First steps

Over the course of this chapter, you ’ll creat e a promotional television spot for a fictional bicycle
company using video and audio clips provided on the CD-ROM. You’ll be working with clips
that have already been digitized as QuickT ime files. If you wer e actually producing this pr oject
from the start, you would likely capture clips from the original video tapes and digitize them
yourself, using Premiere.

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16

A Tour of Adobe Premiere

Deleting custom preference settings

The procedures in this chapter assume you are using the program settings initially provided
with Premiere, as specified in the Pr emier e prefer ences file. The following steps ensure you are
clearing away any modified preference settings which might conflict with the instructions in
this chapter.

1

Make sure that Premiere is not running. If it is, choose File > Exit (Windows) or File >

Quit (Mac OS).

2

Depending on your system, do one of the following:

•

(Windows) Use the Explorer to locate the Prem50.prf file inside the Windows folder and

move it to another folder.

•

(Mac OS) Use the Finder to locate the Premiere 5.0 Prefs file in the Preferences folder in

your System folder and move it to another folder.
By moving the preferences file temporarily , you ensure that P remiere starts with fresh settings

for the current project. At the completion of the project, you can then restore the custom
settings specified in the Preferences file currently on y our system. To do so, mo ve the file back
to its original location, allowing it to overwrite the existing file when prompted.

Copying files from the Adobe Premiere CD-ROM

You’ll create the video piece described in this chapter using optionally installed files. If
Premiere was installed on your system without the “Tour” option selected, you’ll need to
manually copy the files from the Application CD-R OM disc. (F or efficiency and best perfor­mance, we recommend that you copy the files onto your hard drive, and work with the
copies rather than the originals on the CD-ROM disc.)

Note

: If the Premiere folder on your hard drive includes a Tour folder, then the Tour files were
installed with the program, and you can skip the following procedure.

ADOBE PREMIERE 5.0

1

Insert the Adobe Premiere Application CD-ROM disc into your CD-ROM drive. (In
Windows only, a startup screen appears on most systems if the Windows autoplay feature
is enabled. When the screen appears, click the Explore this CD-ROM button.)

2

Use the Explorer (W indows) or Finder (M ac OS) to copy the Tour folder from the CD-ROM
disc onto your hard drive. You’ll need approximately 15 MB of space available on your
hard drive.

Specifying project settings

To start any project, you first need to import the clips you’ll be using for your video program.
A clip can be digitized film, video, audio, a still image, or sequence of still images; a video or
audio clip might be only a few seconds long.

1

Start Adobe Premiere.

2

In the New Project Settings dialog box, choose QuickTime for the Editing Mode.

3

Choose 30 for the Timebase.

User Guide

17

The Timebase menu specifies the frames per second for your project. If you were producing
the final version of your video program for broadcast, you w ould c hoose 29.97, which is the
National Television Standards Commission (NTSC) standard for television, or 25, for the
PAL (Phased Alternating Line) standard, depending on the part of the world in which you
were broadcasting.

4

Click Next to open the Video Settings section of the New Project Settings dialog box.

5

For Frame Size, type

240

in the leftmost box to set the width of the preview.

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18

A Tour of Adobe Premiere

Because the 4:3 Aspect option is checked, 180 appears automatically for the height of the
preview frame. This setting controls how the project is previewed on your monitor.

6

For Frame Rate, specify 15, and then click OK.
Many of the project settings you just defined determine ho w the video program will be built

and exported. Before you create your own videos, read Chapter 2, “Working with projects,”
for a better understanding of the available settings and their importance to the success of
your work.

Now Premiere is set to work with clips you import.

Importing the clips

There are several ways to bring clips into a project. In this chapter you’ll import clips directly
into the Project Window, the one plac e where P r emiere lists eac h clip associated with a pr oject.

1

Depending on your platform, do one of the following:

•

In Windows, Choose File > Import > File, and then open the Tour folder you copied or
installed from the Premiere Application CD-ROM disc. Select the Boys.mov file, hold down the
Shift key , and then select the Finale.mo v file. This selects the first four movie files in the folder.
Then click Open.

ADOBE PREMIERE 5.0

•

In Mac OS, choose File > Import > Multiple, open the Tour folder you copied or installed
from the Premiere Application CD-ROM disc, and then open the Clips folder. Then select
Boys.mov and click Import. Do the same for the Cyclers.mov, Fastslo w.mov, and Finale.mo v
files, and then click Done.

The files appear in the Project window. For each file that you import, the Project window
lists its name, type, and duration. Other columns let you add your own descriptions or
labels. You can scroll or enlarge the window if necessary.

User Guide

19

Before you continue, save the project and give it a name.

2

Choose File > Save.

3

In the Save File dialog box, type

Cycling.ppj

for the file name, and specify a location

on your hard drive. Click Save.
Premiere saves the project file to your hard disk.

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20

A Tour of Adobe Premiere

Creating a rough cut

For many projects, you may want to begin by creating a
A rough cut is simply a sequence of clips assembled in the general sequence you want, with
little or no editing. A rough cut can quickly give y ou some sense of your video program’ s effec­tiveness, letting y ou start making decisions about where to cut, trim, and add transitions and
special effects.

1

If the Timeline window is not open, choose Window > Timeline.

The clips you imported do not become part of the video program until you place them into
the Timeline. The Timeline window is where you’ll construct and edit your video program—
adding, copying, and moving clips, adjusting their lengths, and so on. The Timeline provides
an overview of your work by showing where in time each clip begins and ends, as well as the
relationships between clips.

It’s important to understand that just as there are different ways to import a clip, there is
more than one approach to editing a video in Premiere. Experienced video-editors, for
example, might prefer to rely on the Monitor window (described later in this chapter)
rather than the Timeline. The method of editing described in this tour is appropriate for
novice users creating a relatively simple pr oject. Chapter 4, “Editing V ideo,” describes more
advanced approaches to editing in Premiere, such as 3-point editing.

rough cut

of your video program.

tracks

When you first open the Timeline window, it displays seven separate rows, called

,
underneath the time ruler. The tracks act as containers for the clips; by involving multiple
tracks and arranging clips within the tracks, you create sequences and effects that become
the video program you are making. This chapter introduces you to each kind of track and
to the kinds of controls available for all tracks.

2

In the Project window, select the Boys.mov clip and drag it into the Video 1A track. As you
drag into the Video 1A track, the clip appears as a darkened box. Before releasing the mouse,
make sure that the left end of the box is up against the left side of the Video 1A track.

ADOBE PREMIERE 5.0

Note

: If the Video 1A track is not expanded (that is, set to show the Transition track and the V ideo
1B track with which it is associated), click the arrow to the left of the track label so that the tracks
appear as they do in the following illustration.

3

Select the Cyclers.mov clip and drag it into the Video 1A track, this time positioning it
just after the Boys.mov clip, so that the beginning of the Cyclers clip is up against the end
of the Boys clip.

User Guide

21

4

Select the Fastslow.mov clip, drag it into the Video 1A track, and position it after the
Cyclers.mov clip . Do the same with Finale.mov clip, dragging it just after the Fastslo w .mov clip .

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22

A Tour of Adobe Premiere

Now you ha v e four clips in y our Video 1A track, forming a video program about 32 seconds
in length. This is a rough cut, giving you some idea of how your sequence works and what
needs to be trimmed, edited, and modified. In the ne xt section, y ou’ll preview this sequence.
Before moving on, though, you’ll change how the clips are represented in the Timeline.

5

Click the Timeline window title bar to make sure the window is active, and choose
Window > Timeline Window Options.

6

For Icon Size, select the middle option, and then click OK.

The clip representations in the Timeline change siz e acc or dingly. Now change the unit o f time
displayed throughout the Timeline.

7

From the Time Units pop-up menu in the lower left of the Timeline window, choose
2 Seconds.