Adobe PREMIERE PRO 2 User Manual

Chapter 1:

User Guide

Premiere® Pro 2.0 User Guide for Windows

Adobe

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This Program was written with MacApp

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§12.212 or 48 C.F.R. §§227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. Adobe agrees to comply with all applicable equal opportunity laws including, if appropriate, the provisions of Executive Order 11246, as amended, Section 402 of the Vietnam Era Veterans Readjustment Assistance Act of 1974 (38 USC 4212), and Section 503 of the Rehabilitation Act of 1973, as amended, and the regulations at 41 CFR Parts 60-1 through 60-60, 60-250, and 60-741. The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference.

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Chapter 1: Getting started with Adobe Premiere Pro 2.0

Installation and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Adobe Help Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Using Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Tips, training, and other resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

New features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Chapter 2: Workflow and workspace

Workflow and workspace basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Customizing the workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Predefined workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 3: Projects

Project basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Aspect ratio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

24P projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Improving performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

iii

Chapter 4: Adobe Bridge

The basics of Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Files and folders in Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Running automated tasks with Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Metadata in Bridge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Adobe Stock Photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Comp images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Buying stock photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Stock Photos Accounts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Chapter 5: Capturing, digitizing, and importing

Collecting assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Device control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Capturing and digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Batch capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Online and offline editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Chapter 6: Managing and viewing assets

Customizing the Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Organizing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Working with assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

Source and Program Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Playing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Reference Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Chapter 7: Editing a sequence

Editing overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Working in the Timeline panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Working with tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Trimming clips in the Source Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Assembling a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Trimming clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Changing clip attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Working with clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Rearranging clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Previewing a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Chapter 8: Editing: Beyond the basics

Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140

Editing audio in the Timeline panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Creating special clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Multiple sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Editing a multi-camera sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Working in other applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

To copy and paste between Adobe After Effects and Adobe Premiere Pro . . . . . . . . . . . . . . . . . 156

Adobe Dynamic Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Chapter 9: Transitions

Transition overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .163

Adding transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Fine-tuning transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Customizable transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Chapter 10: Audio

Working with audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Working with clips, channels, and tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Audio transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Panning and balancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Advanced mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Applying effects to audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Automating audio changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Editing audio in Adobe Audition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201

Chapter 11: Using the Titler

Creating titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Using title templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Designing titles for television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Adding text to titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Formatting text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Working with paragraph text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Adding shapes and images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Working with objects in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Adding color, fills, texture, strokes, and shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Working with styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Rolling and crawling titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Chapter 12: Animation

Animating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Activating and selecting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234

Adding and setting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Moving and copying keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Controlling effect changes using keyframe interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Motion effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Chapter 13: Applying Effects

Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Applying, removing, and organizing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Adjusting effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Customizing effect presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Color and luminance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .260

Special color and luminance adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Vectorscope and waveform monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Chapter 14: Effects: Reference

Gallery of effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Adjust effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Blur and Sharpen effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Channel effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Color Correction effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Distort effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

GPU effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

Image Control effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

Keying effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Noise effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

Noise & Grain effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Perspective effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Pixelate effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Render effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Stylize effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Time effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Transform effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Transition effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .344

Video effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Audio effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Chapter 15: Compositing

Transparency (masks, alpha channels) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Compositing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Defining transparent areas with keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Creating transparency and solid colors with mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Chapter 16: Video output

Exporting basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Exporting to videotape or DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Exporting to files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Adobe Media Encoder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Exporting for online editing and collaboration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Chapter 17: Creating DVDs

DVD creation overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

DVD markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Designing menu-based and autoplay DVDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Previewing and burning DVDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Chapter 18: Keyboard shortcuts

Finding and customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Chapter 1: Getting started with Adobe Premiere Pro 2.0

Installation and registration

To install

1 Close any Adobe

2 Insert the product disc into your computer’s DVD drive.

3 Double-click the disc icon, and then follow the on-screen instructions.

After installing the product for the first time on a computer, you will be prompted to activate your copy of the product. (See “To activate” on page 1.)

For more detailed instructions for installing or uninstalling the product, see the ReadMe file on the product disc.

applications that are open.

To activate

Activation is a simple, anonymous process that you must complete within 30 days of installing the product. Activation allows you to continue using the product, and it helps prevent casual copying of the product onto more computersthanthelicenseagreementallows.Afteryouhaveinstalledtheproductforthefirsttimeonacomputer, the Activation dialog box opens, prompting you to activate your copy of the product.

1 If the Activation dialog box is not already open, start the product and choose Help > Activate.

2 Follow the on-screen instructions.

Important: If you want to install the product on a different computer, you must first transfer the activation to that computer. To transfer an activation, choose Help > Transfer Activation.

To learn more about activation, visit the Adobe website at

www.adobe.com/activation/main.html.

To register

Register your Adobe product to receive complimentary support on installation and product defects and notifications about product updates.

Registering your product also gives you access to the wealth of tips, tricks, and tutorials in Resource Center and access to Adobe Studio Exchange, an online community where users download and share thousands of free actions, plug-ins, and other content for use with Adobe products.

Note: An active Internet connection is required for registration.

The Registration dialog box may open after activation, prompting you to register your copy of the product.

1 If the Registration dialog box is not already open, start the product and choose Help > Registration.

2 Follow the on-screen instructions.

ADOBE PREMIERE PRO 2.0

User Guide

See also

“Resource Center” on page 6

Adobe Help Center

About Adobe Help Center

Adobe® Help Center is a free, downloadable application that includes three primary features.

Product Help Provides Help for Adobe desktop products installed on your system. (If no Adobe desktop products

are installed, topics for them aren’t available.) Help topics are updated periodically and can be downloaded through Adobe Help Center preferences. For the products you’ve installed, Product Help also provides dynamic listings of the top support issues and the most recent support documents published on Adobe.com.

Expert Support Provides information about Adobe Expert Support plans and lets you store details about plans

you’ve purchased. If you have an active support plan, you can also use the Expert Support section to submit web cases—questions sent to Adobe support professionals over the web. To access links in the Expert Support section, you must have an active Internet connection.

More Resources Provides easy access to the extensive resources on Adobe.com, including support pages, user

forums, tips andtutorials, andtraining. You can also use this areato storecontact information for friends,colleagues, or support professionals, or even websites you turn to for inspiration or troubleshooting information.

See also

“Using Help” on page 3

“To search Help topics” on page 4

“To navigate Help” on page 4

“To view support documents” on page 3

To check for updates

Adobe periodically provides updates to software and to topics in Adobe Help Center. You can easily obtain these updates through Adobe Help Center. An active Internet connection is required.

1 Click the Preferences button in the top-right corner.

2 In the Preferences dialog box, click Check For Updates. If updates are available, follow the on-screen directions to

download and save them.

You can also check for updates from within many Adobe applications by choosing Help > Updates.

To set Adobe Help Center preferences

1 Click the Preferences button in the top-right corner.

2 Set any of the following options, and click OK.

Region Specifies your geographical location. Changing this option may affect which services are available to you.

Language Specifies the language in which Expert Support content is displayed.

ADOBE PREMIERE PRO 2.0

User Guide

Display Renewal Reminders For Expert Support Contracts Displays reminder screens when your Expert Support

plan has almost expired. Deselect this option if you’d like to turn off these reminders.

Enable Auto Login For Web Case Submission Allows you to submit support questions over the web. This option is

available only if you have an active Expert Support plan.

User Interface Language Specifies the language in which Adobe Help Center interface text is displayed.

Check For Updates Searches for new updates to software and Help topics as they become available from Adobe. This

option also lets you specify notification options and choose which applications to update.

Network Administrators Displays options for network administration.

To view support documents

From within Adobe Help Center, you can get up-to-the-minute listings of the top support issues and the most recent documents added to the support knowledgebase. Each time you start Adobe Help Center, it uses RSS (Really Simple Syndication) technology to gather this information from the Adobe website and update the listings dynamically.

1 In Adobe Help Center, click Product Help and select a product from the For menu.

2 Click the Contents tab in the navigation pane, and do either of the following:

• Click Recent Documents to display a summary of the most recent documents for the selected product.

• Click Top Issues to display a summary of the top issues documents for the selected product.

3 To view a document in full on the Adobe website, click its link. (An active Internet connection is required.)

To display More Resources

The More Resources section in Adobe Help Centerprovides easy accessto some of the content andservices available from the Adobe website, including support, training, tutorials, and forums.

❖ To display this section, click More Resources.

To add contact information in More Resources

1 Click More Resources, and then click Personal Contacts.

2 Do any of the following:

• To add a contact, click New, type the contact information you want to save, and click OK.

• To edit a contact, click a contact in the list, click Edit, make changes to the information, and click OK.

• To delete a contact, click a contact in the list, and then click Delete. To confirm the deletion, click Yes.

Using Help

The complete documentation for using your Adobe product is available in Help, a browser-based system you can access through Adobe Help Center. Help topics are updated periodically, so you can always be sure to have the most recent information available. For details, see “To check for updates” on page 2.

ADOBE PREMIERE PRO 2.0

User Guide

Important: Adobe Help systems include all of the information in the printed user guides, plus additional information not included in print. A PDF version of the complete Help content, optimized for printing, is also provided on the CD or DVD in the product box.

See also

“To navigate Help” on page 4

“To search Help topics” on page 4

To navigate Help

❖ Do any of the following:

• To view Help for a product, choose the product name from the For menu.

• To expand or collapse a section, click the blue triangle to the left of the section name.

• To display a topic, click its title.

See also

“To use bookmarks” on page 5

To search Help topics

Search using words or phrases to quickly find topics. You can search Help for one product or for all Adobe products you’ve installed. If you find a topic that you may want to view again, bookmark it for quick retrieval.

1 In Adobe Help Center, click Product Help, and choose a product from the For menu.

2 Type one or more words in the Search For box, and choose an option from the In menu:

This Product Searches Help for the selected product.

All Products Searches Help for all Adobe products you have installed.

3 Click Search. Topics matching the search words appear in the navigation pane, grouped by product and listed in

order of relevance.

4 To view a topic, click its title.

5 To return to the navigation pane, do one of the following:

• Click the Home button.

• Click the Back button.

• Click Next Topic or Previous Topic.

See also

“To print a topic from Help” on page 5

“To use bookmarks” on page 5

ADOBE PREMIERE PRO 2.0

User Guide

Search tips

The search feature in Adobe Help Center works by searching the entire Help text for topics that contain any of the words typed in the Search For box. These tips can help you improve your search results in Help:

• If you search using a phrase, such as “shape tool,” put quotation marks around the phrase. The search returns only

those topics containing all words in the phrase.

• Make sure that the search terms are spelled correctly.

• If a search term doesn’t yield results, try using a synonym, such as “web” instead of “Internet.”

To print a topic from Help

1 Select the topic you want to print, and click the Print button.

2 Choose the printer you’d like to use, and then click Print.

To change the view

By default, Adobe Help Center opens in Full view. Full view gives you access to the Product Help, Expert Support, and More Resources sections. Switch to Compact view when you want to see only the selected Help topic and you want to keep the Help window on top of your product workspace.

❖ Click the view icon to switch between Full and Compact views.

To use bookmarks

You can bookmark especially helpful topics for easy access, just as you bookmark pages in a web browser, and reread them at another time.

• To view bookmarks, click the Bookmarks tab in the navigation pane.

• To create a bookmark, select the topic you want to mark, and click the Bookmark button . When the New

Bookmark dialog box appears, type a new name in the text box if desired, and then click OK.

• To delete a bookmark, select it in the Bookmarks pane, and click the Delete button. Click Yes to confirm the

deletion.

• To rename a bookmark, select it in the Bookmarks pane, and then click the Rename Bookmark button . In the

dialog box, type a new name for the bookmark and then click OK.

• To move a bookmark, select it in the Bookmarks pane, and then click the Move Up button or the Move Down

button .

Tips, training, and other resources

Learning resources

Adobe provides a wide range of resources to help you learn and use Adobe products.

• “Total Training Video Workshop DVD” on page 6: Professional training videos from experts.

• “Resource Center” on page 6: Videos, tips and tricks, and other learning material on Adobe products.

• “Other resources” on page 7: Training, books, user forums, product certification, and more.

ADOBE PREMIERE PRO 2.0

• Support: Complimentary and paid technical support options from Adobe.

• “Extras and other downloads” on page 8: Other software and content.

See also

“About Adobe Help Center” on page 2

“Using Help” on page 3

Total Training Video Workshop DVD

Presented by experts in their fields, Total Training videos provide overviews, demonstrations of key new features, and many useful tips and techniques for beginning and advanced users. Look for accompanying step-by-step instructions to selected Total Training videos in monthly updates to Resource Center.

In addition to the Total Training Video Workshop DVD included with your software, short Total Training web videos on a variety of products and topics are also available in Resource Center, and complete Total Training courseware can be purchased online from the Adobe Store.

See also

“Resource Center” on page 6

User Guide

Resource Center

Resource Center provides a wealth of tips, tricks, tutorials, and instructional content in video, PDF, and HTML formats, authored by experts from Adobe and its publishing partners. You can search the entire collection or sort by product, topic, date, and type of content; new content is added monthly. Resource Center is available in English, French, German, and Japanese. Find it from the home page of the Adobe website.

ADOBE PREMIERE PRO 2.0

User Guide

Tips and tutorials in Resource Center

Forfreecontentandadd-ons,visitAdobeStudioExchange,anonlinecommunitywhereusersdownloadandshare thousands of free actions, plug-ins, and other content for use with Adobe products. To visit Adobe Studio Exchange, go to Resource Center from the home page of the Adobe website.

See also

“Total Training Video Workshop DVD” on page 6

“Other resources” on page 7

Other resources

Additional sources of information and help are available for Adobe products.

• Visit the Training area of the Adobe website for access to Adobe Press books; online, video, and instructor-led

training resources; Adobe software certification programs; and more.

• Visit the Adobe user forums, where users share tips, ask questions, and find out how others are getting the most

out of their software. User forums are available in English, French, German, and Japanese from the main Support page of your local Adobe website.

• Visit the Support area of the Adobe website for additional information about free and paid technical support

options. Top issues are listed by product on the Adobe U.S. and Adobe Japan websites.

• ClickMoreResourcesinAdobeHelpCentertoaccessmanyoftheresourcesontheAdobewebsiteandtocreate

your own list of frequently visited user groups and websites and valuable contacts.

ADOBE PREMIERE PRO 2.0

User Guide

• For complete developer documentation and resources, visit the Developers area of the Adobe website at

http://partners.adobe.com/public/developer/main.html. For additional backgroundersand instructional content, visit Resource Center.

Extras and other downloads

Your product includes Adobe Stock Photos, an integrated service available within Adobe Bridge that lets you search, view, try, and buy royalty-free stock photography from leading stock libraries. Because of the tight integration between Stock Photos and Adobe products, you can download images directly into your projects.

TheDownloadsareaoftheAdobewebsiteincludesfreeupdates,tryouts,andotherusefulsoftware.Inaddition,the Plug-ins section of the Adobe Store provides access to thousands of plug-ins from third-party developers, helping you automate tasks, customize workflows, create specialized professional effects, and more.

Adobe periodically provides downloadable updates to topics in Adobe Help Center and to Adobe Help Center software itself.

See also

“About Adobe Bridge” on page 40

“About Adobe Stock Photos” on page 56

“Resource Center” on page 6

“Other resources” on page 7

“About Adobe Help Center” on page 2

New features

What’s new

With version 2.0, Adobe Premiere® Pro builds on its field-proven strengths, extends its reach to new formats, and provides users with even greater support for workflow integration and productivity. Here’s a quick look at some of the new features that help make Adobe Premiere Pro 2.0 an integral part of Adobe’s comprehensive solution for even the most demanding productions.

Customizable efficient workspaces The Adobe user interface now allows you even greater ability to customize and

save workspaces of your own design. You can dock panels to one another in groups or pull any panel out of a group. When you resize a panel, the others in the workspace expand or contract as necessary to give you the most efficient use of the space.

Uncompressed HD support Capture, edit, and output full-resolution uncompressed, high-definition video through

HD VTRs and other devices by way of an HD-enabled SDI card.

SD-SDI support Capture, edit, and output standard-definition digital video in either NTSC or PAL standards

through an SD-SDI card.

Native HDV editing Log, batch-capture, and edit HDV footage in real time without a need for additional HDV

plug-ins.

Macromedia Flash export Export your video in Macromedia

Flash™, a popular format for delivery on the web and

to mobile devices.

ADOBE PREMIERE PRO 2.0

Professional VTR support Control video decks using RS-422 or RS-232 protocols.

Feet + frames timecode Display timecode in standard film formats when working with captured film footage.

Scrolling Timeline panel Choose how the Timeline panel is displayed during previews. Set the Timeline Playback

User Guide

Auto-Scrolling preference to Smooth Scroll to see the ruler and tracks move past a stationary indicator showing the current playback location. Choose Page Scroll to see the timeline advance by a full screen each time the playback indicator reaches the edge of the panel. Or choose No Scroll to allow the indicator to move through a stationary timeline past the edge of the panel.

GPU-accelerated rendering Tap into your Direct3D 9.0-capable graphics card to speed previews and the rendering

of effects.

DVD authoring from the timeline Author menu-driven orautoplay DVDs and burn them straight from the timeline

for quick client reviews and test disks.

Adobe Bridge Access, manage, and manipulate files from any of your Adobe Creative Suite applications through a

single interface.

Integrated titling tool Create text and graphics titles from scratch, templates, or user-defined styles.

Lighting effects filter Add multiple spot, directional, or omni lights for varied looks within a scene.

After Effects integration Drag and drop and copy and paste to co-edit compositions between Adobe After Effects

and Adobe Premiere Pro. Additionally, users of Adobe Production Studio can use Dynamic Link. With Dynamic Link,youdon’tneedtorenderanAfterEffectscompositiontoviewandedititinanAdobePremiereProSequence.

Clip notes Send edited videos embedded in PDF files to your clients, and read their timecode-specific comments

from markers that appear in the timeline of Adobe Premiere Pro.

Support for 4096x4096 frames Import, edit, and output image sequences at the 2K and 4K resolutions often used

for online feature-film work.

Multicam editing Edit footage from multiple-camerashoots with ease. View up to four source trackssimultaneously

in the quad-view monitor, and switch between them in real time while previewing their output in the Program Monitor. Create sequences by switching between sources in real time the way you would with a video switcher in a live production.

Subclip creation Trim a master clip into any number of subclips, each with its own In and Out points. You can store

subclips as unique clips in the Project panel and use them independently in your sequences. You can, for example, apply different effects to different subclips made from the same master clip.

Audio clip and track effects Apply multiple effects to audio clips or tracks. Adobe Premiere Pro now includes a set

of VST-format plug-ins for audio enhancement.

Digital Cinema export Export any project as a Windows Media 9 Series for Digital Cinema file at 720p or 1080p

resolution, with accompanying 5.1 channel surround-sound. This helps you take advantage of the growing digital cinema trend at major film festivals.

Chapter 2: Workflow and workspace

Workflow and workspace basics

Workflow overview

Whether you’re using Adobe Premiere Pro to edit video for broadcast, DVD, or the web, you’re likely to follow a similar workflow.

aabcabc

1234567

Premiere Pro workflow

1. Start or open project 2. Capture and import assets 3. Assemble and refine sequence 4. Add titles 5. Add transitions and effects 6. Mix audio 7. Export

Start or open a project

aabcabc

Openanexistingproject,orstartanewonefromtheAdobePremiereProQuickstartscreen.Whenstartinganew project, you can specify the video standard and format of sequences. (See “About projects” on page 23.)

Quickstart screen

Capture and import video and audio

aabcabc

ADOBE PREMIERE PRO 2.0

User Guide

Using the Capture panel, transfer footage directly from a DV camera or deck. With the proper hardware, you can digitize andcapture other formats, from VHS to HDV. Eachfile you captureto your hard disk automatically becomes a clip in your project.

Project panel and Capture panel

Using the Project panel, you can import a variety of digital media, including video, audio, and still images. Adobe

Premiere Pro also imports Adobe Illustrator

artwork or Adobe Photoshop®layered files, and translates Adobe After Effects projects for a seamless, integrated workflow. You can create synthetic media, such as standard color bars, color backgrounds, and a countdown. (See “About capturing, digitizing, and importing” on page 65.)

In the Project panel you can label, categorize, and group your footage into bins to keep a complex project organized. Using the Project panel icon view, you can arrange clips in a storyboard fashion to visualize or quickly assemble a sequence.

Assemble and refine a sequence

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Using the Source Monitor, you can view clips, set edit points, and mark other important frames before adding clips to a sequence. You can view audio as a detailed waveform and edit it with sample-based precision. (See “About the Source and Program Monitors” on page 98.)

ADOBE PREMIERE PRO 2.0

User Guide

Source Monitor, Program Monitor, and Timeline panel

You add clips to a sequence in the Timeline panel by dragging or by using controls in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel. You can view the edited sequence in the Program Monitor or watch the full-screen, full-quality video on an attached television monitor. (See “About the Timeline panel” on page 107 and “Adding clips to a sequence” on page 115.)

Refine the sequence by manipulating clips in the Timeline panel, with either context-sensitive tools or tools in the Tools panel. Use the specialized Trim Monitor to fine-tune the cut point between clips. By nesting sequences—using a sequence as a clip within another sequence—you can create effects you couldn’t achieve otherwise.

Add titles

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Usingthe Adobe Premiere Profull-featured Titler, create stylish still titles, title rolls, or titlecrawls that you can easily superimpose over video. If you prefer, you can modify any of a wide range of provided title templates. As with any clip, you can edit, fade, animate, or add effects to the titles in a sequence. (See “About the Titler” on page 203.)

ADOBE PREMIERE PRO 2.0

User Guide

Title r

Add transitions and effects

aabcabc

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 opacity and motion, using the Effect Controls panel.The Effect Controls panel also lets you animate a clip’s properties using traditional keyframing techniques. As you adjust transitions, the Effect Controls panel displays controls designed especially for that task. Alternatively, you can view and adjust transitions and a clip’s effect keyframes in the Timeline panel. (See “About transitions” on page 163 and “Working with effects” on page 250.)

ADOBE PREMIERE PRO 2.0

User Guide

Effects and Effect Controls panels

Mix audio

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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. Adobe Premiere Pro saves your adjustments in real time, on the fly. With the proper sound card, you can record audio through the sound mixer, or mix audio for 5.1 surround sound. (See “Mixing audio tracks and clips” on page 175.)

Audio Mixer

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Export

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Deliver your edited sequence in the media of your choice: tape, DVD, or movie file. With the DVD Layout panel, you can produce a DVD complete with navigational menus all from within Adobe Premiere Pro. And using the Adobe Media Encoder, even formats with extensive options—MPEG1, MPEG2, and formats for delivery via the web—are customized to the needs of your viewing audience quickly and easily. (See “About export” on page 370.)

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Export Settings dialog box and DVD Layout panel

About the Adobe workspace

Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Tools, Properties, Timeline, and so on), you move and group panels on your computer screen in the same way across products.

The main window of a program is the application window. The various panels are organized in this window in an arrangement called a workspace. The default workspace contains groups of panels as well as panels that stand alone.

You customize a workspace by arranging the panels, usually by dragging them, in the layout that best suits your style of working. You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing.

You can drag panels to new locations, move panels into or out of a group, place panels alongside each other, and undock a panel so that it floats in a new window above the application window. As you rearrange panels, the other panels resize automatically to fit the window.

YoucanusefloatingwindowstocreateaworkspacemorelikethoseinpreviousversionsofAdobeapplications,orto place panels on multiple monitors.

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Example of workspace A. Application window B. Grouped panels C. Panels

To display menus

In addition to choosing from the menus at the top of your screen, you can choose from context menus, which display commands relative to the active tool or selected item. Panel menus display commands relative to the active panel.

• To display panel menus, click the triangle in the upper right corner of the panel.

• To display context menus, right-click a panel.

About the Info panel

The Info panel displays information about a selected item. For clips, the Info panel displays information such as duration, In point, and Out point. The information displayed may vary depending on the media type, the current window, and soon. Forexample, theInfo panel displays information unique toan emptyspace in the Timeline panel, a rectangle in the Titler, and a clip in the Project panel display.

In the Info panel, the Video line indicates frame rate, dimensions, and pixel aspect ratio, in that order. The Audio line indicates sample rate, bit depth, and channels, in that order.

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Using tools

The Tools panel contains a number of tools for editing sequences in the Timeline panel. When you select a tool, the pointer generally changes shape according to your selection. For example, when you select the Razor tool and position the pointer over a clip in the Timeline panel, the icon changes to a razor. However, the Selection tool icon may change to reflect the task currently being performed. In some cases, pressing a modifier key (such as Shift) as you use a tool changes its function, and its icon changes accordingly. Select tools from the Tools panel, or use a keyboard shortcut. You can resize the Tools panel and orient it vertically or horizontally.

Note: The Selection tool is the default tool. It’s used for everything other than specialized functions. If the program isn’t responding as you expect, make sure that the Selection tool is selected.

A B C D E F G H I J K

To ol b ox

A. Selection tool B. Track Selection tool C. Ripple Edit tool D. Rolling Edit tool E. Rate Stretch tool F. Razor tool G. Slip tool H. Slide tool I. Pen tool J. Hand tool K. Zoom tool

See also

“History panel” on page 38

Customizing the workspace

Drop zones

Drop zones are areas onto which you can drop or move panels. As you drag a panel, the drop zones become highlighted. The drop zone determines where and how the panel is inserted into the workspace. Dragging a panel to a drop zone results in one of two behaviors: docking or grouping.

Docking

Drop zones along the edges of a panel, group, or window are docking zones. Docking a panel places it adjacent to the existing group, resizing all groups to accommodate the new panel.

Dragging panel (A) onto docking zone (B) to dock it (C)

Grouping

Thedropzoneinthemiddleofapanelorgroup,aswellasthezonealongthetabareaofapanel,aregroupingzones. Grouping a panel adds it to an existing group, placing it at the top of the stacking order. Grouping a panel does not resize other groups.

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Dragging panel (A) onto grouping zone (B) to group it with existing panels (C)

To dock or group panels

You dock and group panels by dragging them onto drop zones. As you drag a panel over a drop zone, the zone becomes highlighted to provide a visual reference for the drop.

Drag the gripper area in the upper left corner of a panel’s tab to move an individual panel. Drag the group gripper at the upper right corner to move an entire group.

Dragging panel gripper (A) to move one panel; dragging group gripper (B) to move entire group

1 Selectthepanelyouwanttodockorgroupbyclickingitstab.Ifthepanelisnotvisible,chooseitfromtheWindow

menu to open it.

2 Drag the panel by its tab onto the desired drop zone. The application docks or groups the panel, according to the

type of drop zone.

See also

“Drop zones” on page 18

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To open a panel in a floating window

You can open a panel in a floating window. You can add panels to the floating window or otherwise modify it, as you do the application window. You can use floating windows to create a workspace like those in earlier versions of Adobe applications, or to make use of a secondary monitor.

❖ Select the panel you want to open (if it’s not visible, choose it from the Window menu), and then do one of the

following:

• Ctrl-click (Windows) or Command-click (Mac OS) and drag the panel or group from its current location. When

you release the mouse, the panel or group appears in a new floating window.

• Drag the panel or group outside the application window. (If the application window is maximized, drag the panel

to the Windows task bar.)

To close a panel or window

When you close a panel group in the application window, the other groups are resized to make use of the newly available space. When you close a floating window, the panels within it close, too.

❖ Click the Close button on the panel or window that you want to close.

To resize panel groups

The dividers between panel groups have resizehandles. You resize a group in onedirection at a time, either vertically or horizontally. When you drag a divider between panel groups, all groups that share the divider are resized. For example, suppose your workspace contains three panel groups stacked vertically. If you drag the divider between the bottom two, they are resized, but the topmost group doesn’t change.

1 Position the pointer over the divider between the panel groups that you want to resize. The pointer changes

shape .

2 Hold down the mouse button, and drag to resize the panel groups.

Dragging the divider between panel groups to resize them. A. Original group with divider selected B. Resized groups

Working with multiple monitors

You can use multiple monitors to increase the available screen space. When you work with multiple monitors, the application window appears on the main monitor, and you place a floating window on the second monitor. Monitor configurations are stored in the workspace.

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To brighten or darken the user interface

Adobe Premiere Pro lets you brighten or darken the application’s graphical user interface (GUI). For example, you may prefer to lower the brightness when working in a darkened editing suite or when making color corrections. Changing the brightnesspreference affects panels, windows, anddialog boxes but doesn’t affect scroll bars, title bars, andmenusthataren’tinsidepanels.Inaddition,thebrightnesspreferencedoesn’taffecttheapplicationbackground on Windows.

1 Choose Edit > Preferences > User Interface.

2 Drag the User Interface Brightness slider to the left or right. Click Default Brightness to restore the default

brightness level.

3 To set the interface to match the background color specified by the Windows operating system’s current

appearance settings, select Use Windows Background Color.

To change the Windows operating system’s appearance settings, right-click the Windows desktop and choose Properties, and then customize options in the Appearance tab in Display Properties For Windows. Consider using

the Windows Classic style to reduce the font size of title bars (see Windows online Help).

To use the Events panel

Adobe Premiere Pro Events lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug-ins and other components from third-party developers. An alert icon , , on the status bar notifies you of an error. Double-clicking the icon opens the Events panel, and clearing the associated item from the Events panel removes the icon from the status bar.

1 Do either of the following:

• Double-click the alert icon in the status bar.

• Choose Window > Events.

2 Do any of the following:

• To learn more about an item in the list, select it and click Details.

• To clear the events list, click Clear All.

Predefined workspaces

To use an Adobe workspace

Each Adobe video and audio application includes several workspaces for various tasks. For example, Adobe Encore DVD has workspaces for editing in the Timeline and for designing slideshows, menus, and navigation. You can choose a workspace at any time. When you choose one of these workspaces, the current workspace is redrawn accordingly.

❖ With the project you want to work on open, choose Window > Workspace, and select the desired workspace.

To create or modify a workspace

As you modify a workspace, the application trackschanges, savingany modifications with the project. The next time you open the project, the most recent version of the workspace is used. You can also choose to restore the original layout of the workspace.

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Youcansaveanyworkspace,asacustomworkspaceatanytime.Oncesaved,newandeditedworkspacesappearin the Workspace menu on the local computer. If a project with a custom workspace is opened on a system other than the one on which it was created, the application looks for a workspace with a matching name. If the application finds a match (and the monitor configuration matches), it uses that workspace; if it can’t find a match (or the monitor configuration doesn’t match), it opens the project using the current local workspace.

❖ Arrange the framesand panels as desired, thenchoose Window >Workspace > Save Workspace, and enter aname

for the workspace. Click Save.

To delete a workspace

1 Choose Window > Workspace > Delete Workspace.

2 Choose the workspace you want to delete, and then click Delete.

Chapter 3: Projects

Project basics

About projects

A project is a single Adobe Premiere Pro file that contains sequences and references to the assets (clips, still images, and audio files) associated with the sequences. A project stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such asthe In and Out points for trimmed clipsand the parameters for each special effect. Adobe Premiere Pro creates a folder on your hard drive at the start of each new project. By default, this is where it stores the files it captures, the preview and conformed audio files it creates, and the project file itself.

Every project includes a Project panel. This acts as a storage area for all files used in the project.

To create a project

In most cases, you can start a project simply by using one of the presets provided in the New Project dialog box. The presets included with Adobe Premiere Pro include common project types. Preserve editing quality by using a preset that conforms to the specifications of your original assets. For example, if your project uses footage mostly in DV format, use a DV preset. If you need to specify lower quality settings for output (such as streaming web video), don’t change your project settings—instead, change your export settings later.

If your computer has a capture card compatible with Adobe Premiere Pro, its own optimized presets may appear in the Available Presets list.

Theprojectsettingsmustbecorrectwhenyoucreatetheprojectfile.Onceaprojectiscreated,someprojectsettings, such as the timebase settings, are locked. This prevents unwanted inconsistencies that could result from changing project settings later.

1 Either choose New Project on the Welcome screen that appears when Adobe Premiere Pro starts up or, after the

application is open, choose File > New > Project.

2 Do one of the following:

• To apply a preset, select it from the Available Presets list.

• To customize settings, choose the preset that most closely matches your editing environment, click Custom

Settings, and then select your specific project settings. For Location, specify where you want to store the project on disk.

3 Type the name of the project, and then click OK.

Note: Whenever possible, specify a location and name that you won’t have to change later. By default, Adobe Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project. Moving a project file later may require moving its associated files as well.

About project settings

Project settings establish the general parameters for a given project. They control parameters such as how Adobe Premiere Pro works with your source device and video and audio files, how it renders your previews, and so on. All project settings apply to the whole project, and most can’t be changed after a project is created.

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Presets are groups of project settings. Adobe Premiere Pro comes with several groups of presets installed: Adobe SD0-SDI, Adobe HD-SDI, Adobe HDV, DV-NTSC, DV-PAL, and DV-24P. These contain the correct project settings for the most typical project types. When creating a new project, you can either select from among the standard presets or customize a group of project settings and save the customized group as a custom preset.

When you start a new project, you see a dialog box displaying a number of presets with selected default settings for all these parameters. You can choose one of these presets. Alternatively, you can create your own custom presets tailored to the needs of your project. If you want full control over almost all the project’s parameters, you must start a new project and customize its presets.

After you begin working in a project, you can review project settings, but you can change only a few of them. Choose Project > Project Settings to view the settings you can change.

Project settings are organized into the following categories:

General Settings Control the fundamental characteristics of the project, including the method Adobe Premiere Pro

uses to process video (Editing Mode), count time (Display Format), and play back video (Timebase).

Capture Settings Control how Adobe Premiere Pro transfers video and audio directlyfrom a deck orcamera. (None

of the other project settings options affect capturing.) The contents of this panel depend on the editing mode. If you’re capturing DV footage, you don’t need to change capturesettings. When DV/IEEE 1394 Capture is the selected capture format, no options are available because the options are automatically set to the IEEE 1394 standard. Additional capture formats and options may appear if you install other software, such as software included with a capture card certified to be compatible with Adobe Premiere Pro.

Video Rendering Controls the frame size, picture quality, compression settings, and aspect ratios that Adobe

Premiere Pro uses when you play back video from the Timeline panel (where you edit your video program).

Default Sequence Controls the number of video tracks and the number and type of audio tracks for new sequences

you create.

Note: If you must change project settings that are unavailable, you can create a new project with the settings you want and import the current project into it. However, if you import the current project into a project with a different frame rate or audio sampling rate, check video and audio edits carefully. Although edit positions made under the old settings are preserved, they may not synchronize precisely with the new settings. Edits or changes you make after importing are synchronized with the new settings.

To customize project settings

To customize most project settings, you must start a new project, select an existing preset, and then customize the preset settings.

1 Click New Project or choose File > New > Project.

2 In the Load Preset panel, select the preset that most closely matches your video footage or the needs of your

capture card.

3 In the Custom Settings panel, modify the General, Capture, Video Rendering, and Default Sequence settings to

match the needs of your project.

4 To save your custom settings as a preset that you can use for future projects, click Save Preset. A dialog box asks

youtonameanddescribethecustompreset.Hereyoucanchoosewhethertosavethedevicecontrolsettingsaspart of the preset.

5 Specify where to save the project on disk, give it a name, and then click OK.

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General settings

Choose General settings thatconform to the specificationsof the dominant source files in your project (for example, if most of your footage is DV, use the DV Playback editing mode). Changing these settings arbitrarily may result in a loss of quality.

Editing Mode Specifies which video method is used to play back sequences, which timebases are made available,

which compression methods appear in the Video Settings panel, and which display formats are available. Choose an Editing Mode option that best matches the specifications of your source footage and/or capture card. This modedoes not determine the format of your final movie. You specify output settings when you export.

Timebase Specifies thetime divisionsAdobe Premiere Pro uses to calculatethe time position of each edit. In general,

choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, and29.97 for editing NTSC (North American standard) video. Do not confuse timebase with the frame rate of the video you play back or export from sequences, although timebase and frame rate are often set to the same value. The options listed for Timebase vary according to the editing mode you selected.

Playback Settings Displays playback options for most of the editing modes. Select it to display a dialog box of

Realtime Playback, Export, 24P Conversion Method, and Desktop Display Mode options. You can also choose whether to disable video output when Adobe Premiere Pro is in the background, and whether to enable aspect ratio correction on external devices.

Frame Size Specifies the dimensions, in pixels, for frames when you play back sequences. In most cases, the frame

sizeforyourprojectshouldmatchtheframesizeofyoursourcefiles.Don’tchangetheframesizetocompensatefor slow playback—instead, adjust playback resolution by choosing a different Quality setting from the Project panel menu, or adjust the frame size of final output by changing Export settings.

Pixel Aspect Ratio Sets the aspect ratiofor individual pixels. Choose SquarePixels for analog video, scannedimages,

and computer-generated graphics, or choose the format used by your source. If you use a pixel aspect ratio that is different from that of your video, the video may play back and render with distortion.

Fields Specifies the field dominance, or which field of each frame’s interlaced fields is drawn first. If you work with

progressive-scan video, select No Fields (Progressive Scan). Note that many capture cards capture fields regardless of whether you shot progressive scan footage.

Display Format (Video) AdobePremiereProcandisplayanyofseveralformatsoftimecode.Youmaywanttoseethe

project’s timecode in a film format, for example, if you are editing footage captured from film; or in simple frame numbers if your assets were imported from an animation program. Changing the Display Format option does not alter the frame rate of clips or sequences—it changes only how their timecodes are displayed. The time display options correspond to standards for editing video and motion-picture film. For Frames and Feet + Frames timecodes, you can change the starting frame number tomatch the time-counting method of another editing system you may be using.

TheoptionsmadevisibleintheDisplayFormatfielddependontheEditingModeselected.Youcanchoosefromthe following Display Format options, depending on which editing mode is selected:

• 30 fps Drop-Frame Timecode Reports time in hours, minutes, seconds, and frames, separating units with

semicolons. Drop-frame timecode assumes a rate of 30 frames per second, but skips some numbers by design: To accommodate the NTSCactual frame rate of 29.97fps drop-frametimecode skips, or drops, two frame numbers (not the actual frames of video) each minute except every tenth minute. Use for output to NTSC videotape.

30 fps drop-frame timecode as indicated by semicolons

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• 30 fps Non Drop-Frame Timecode Reports time in hours, minutes, seconds, and frames, separating units with

colons. It assumes a rate of 30 frames per second and does not drop frame numbers. Use for output to computer displays via the web or CD-ROM.

30 fps non drop-frame Timecode as indicated by colons

• 24 fps Timecode Reports time in hours, minutes, seconds, and frames; separating units with colons. Use for 24P

footage and to output to 24-fps formats for film and DVD distribution.

24 fps timecode showing “23” as highest possible number of frames before next second

• 25 fps Timecode Reports time in hours, minutes, seconds, and frames, separating units with colons. Use for

output to PAL videotape.

25 fps timecode showing “24” as highest possible number of frames before next second

• Feet + Frames 16mm Reports time in feet and frames, assuming the frame rate of 16mm film: 40 frames per foot.

Use for output to 16mm film.

Feet + frames 16mm timecode showing “39” as highest possible number of frames before next foot

• Feet + Frames 35mm Reports time in feet and frames, assuming the frame rate of 35mm film: 16 frames per foot.

Use for output to 35mm film.

Feet + frames 35mm timecode showing “15” as highest possible number of frames before next foot

• Frames Reports time solely in a running count of frames. Does not assign measurements of either time or spatial

length. Use to output sequential stills such as those generated for an animation or DPX film editor.

Frames timecode simply numbers each frame in sequential order.

Note: When working with NTSC video assets, youshould usually use 30 fps drop-frame timecode. This format conforms with the timecode base inherent in NTSC video footage and displays its duration most accurately.

Title Safe Area Specifies how much of the frame edge to mark as a safe zone for titles, so that titles aren’t cut off by

televisions that zoom the picture slightly to enlarge it. A rectangle with cross hairs marks the title-safe zone when you click the Safe Margins button in the Source Monitor or Program Monitor. Titles are usually assumed to require a wider safe zone than action.

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Action Safe Area Specifies how much of the frame edge to mark as a safe zone for action so that action isn’t cut off

bytelevisionsthatzoomthepictureslightlytoenlargeit.Arectanglemarkstheaction-safezonewhenyouclickthe Safe Margins button in the Source Monitor or Program Monitor.

Sample Rate In general, higher rates provide better audio quality when you play back audio in sequences, but they

require more disk space and processing. Resampling, or setting a different rate from the original audio, also requires additional processing time and affects the quality. Try to record audio at a high-quality sample rate, and capture audio at the rate at which it was recorded.

Display Format Specifies whether audio time display is measured using audio samples or milliseconds. Display

Format applies when Audio Units is selected in the Source Monitor or Program Monitor menu. (By default, time is displayed in frames, but it can be displayed in audio units for sample-level precision when you are editing audio.)

Note: DV video and audio use standardized settings that are specified automatically when you select DV Playback editing mode. When you use DV Playback editing mode, avoid changing the Timebase, Frame Size, Pixel Aspect Ratio, Fields, and Sample Rate settings.

See also

“Previewing on a monitor using a video card” on page 138

Video Rendering settings

Video Rendering settings affect how Adobe Premiere Pro generates video when you select Sequence > Render Work Area.

Maximum Bit Depth Maximizes the color bit depth, up to 32 bits, to include in video played back in sequences. This

setting may not be available if the selected compressor provides only one option for bit depth. You can also specify an 8-bit (256-color) palette when preparing a video program for 8-bit color playback, such as when using the Desktop editing mode for the web or for some presentation software.

Previews These options—File Format, Compressor, and Color Depth— specify how Adobe Premiere Pro plays

previews. Select a combination that gives the best quality previews while keeping rendering time and file size within tolerances acceptable for your system. For certain editing modes, these settings cannot be changed.

Note: If you use a clip in your video program without applying effects or changing frame or time characteristics, Adobe Premiere Pro uses the clip’s original codec for playback. If you make changes that require recalculation of each frame, Adobe Premiere Pro applies the codec that you choose here.

Optimize Stills Uses still images efficiently in sequences. For example, if a still image has a duration of 2 seconds in

a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Deselect this option if sequences exhibit playback problems when displaying still images.

Save and name your project settings even if you plan to use them in only one project. Saving settings creates a backup copy of the settings in case someone accidentally alters the current project settings.

To open a project

Adobe Premiere Pro can open project files created with Adobe Premiere Pro or Adobe Premiere 6.x for either Windows or Mac OS. You can open only one project at a time. Ifyou want to transfer the contents of one project into another, import them.

1 Choose File > Open Project.

2 Browse to the project file and select it.

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3 Select Open.

To locate missing files

Adobe Premiere Pro doesn’t store video, audio, or still image files in the project file—it stores only a reference to each of these files based on its file name and location at the time you imported it. If you later move, rename, or delete a source file, Adobe Premiere Pro can’t find it automatically the next time you open the project. In this case, Adobe Premiere Pro displays the Where Is The File dialog box.

1 Locate the file using the Look In field or the Find button.

2 Select the file and choose Select.

Note: Do not delete source files while you are using them as clips in an Adobe Premiere Pro project unless they were captured using device control and you plan to recapture them. After you deliver the final movie, you can delete source files.

To skip missing files

You don’t need to locate missing files to continue working on a project. Instead, you can substitute offline files as placeholders for the missing files. You can continue editing with these offline files, but you must bring the originals back online before rendering your movie.

When you want to bring a file back online after the project is open, you don’t have to close the project and open it again. Instead, use the Link Media command.

❖ Choose one of the following in the Where Is The File dialog box:

Offline Replaces a missing file with an offline file, a placeholder that preserves all references tothe missing file every-

where in the project. Unlike the temporary offline file created by Skip, the one generated by Offline persists between sessions, so you won’t have to locate missing files every time the project is opened.

Offline All Like Offline, Offline All replaces all missing files with persistent offline files.

Skip Replaces a missing file with a temporary offline file for the duration of a session. When you close your project

and then reopen it, you see a dialog that asks you to locate the file or allows you to skip it again.

Skip All Like Skip, Skip All replaces all missing files with temporary offline files.

Important: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project. If you want to keep the file in the project but can’t locate it at the moment, use Offline instead.

To save a project

Saving a project saves your editing decisions, references to source files, and the most recent arrangement of panels. Protect your work by saving often.

Adobe Premiere Pro may ask whether you want to save a project even though you haven’t edited any sequences. This occursbecauseotherattributesoftheprojectmayhavechangedsincetheprojectwasopened.It’susuallybesttosave changes when asked.

❖ Do one of the following:

• Choose File > Save to save the current project.

• To save a copy of a project and continue working in the new copy, choose File > Save As, specify a location and

file name, and click Save.

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• To save a copy of a project but continue working in the original project, choose File > Save a Copy, specify a

location and file name, and click Save.

Note: There’s no need to save copies of a project when creating different segments or versions of the same video program. Simply create new or duplicate sequences within a single project file.

To change the Auto Save settings

By default Adobe Premiere Pro automatically saves your project every 20 minutes and retains the last five versions of the project file on the harddisk. You can revert to a previously saved version at any time. Archiving many iterations of a project consumes relatively little disk space because project files are much smaller than source video files. It’s usuallybesttosaveprojectfilestothesamedriveasyourapplication.ArchivedfilesaresavedintheAdobePremiere Pro Auto-Save folder.

1 Choose Edit > Preferences > Auto Save.

2 Do any of the following, and then click OK:

• Select Automatically Save Projects, and type the number of minutes between saves.

• For Maximum Project Versions,enter the number of versions of a project file you want to save. For example, if you

type 10, Adobe Premiere Pro saves the ten most recent versions.

To open an Auto Save project

1 Choose File > Open project.

2 Browse to the Adobe Premiere Pro Auto-Save folder, located in the same scratch disk location as captured video

files. If no files are available, the Auto Save preference may be turned off.

3 Open the project file containing the version you want to use.

Aspect ratio

About aspect ratio

Aspect ratio specifies the ratio of width to height. Video and still picture frames have a frame aspect ratio, and the pixels that make up the frame have a pixel aspect ratio. Some cameras can record various frame aspect ratios, and different video standards use different pixel aspect ratios.

You set the frame and pixel aspect ratios for an Adobe Premiere Pro project when you create it. Once they are set, you cannot change them for that project. You can, however, use assets created with different aspect ratios in that project.

Adobe Premiere Pro automatically tries to compensate for the pixel aspect ratio ofsource files. If an asset still appears distorted, you can manually specify its pixel aspect ratio. It's important to reconcile pixel aspect ratios before reconciling frame aspect ratios, because an incorrect frame size can be due to a misinterpreted pixel aspect ratio.

Frame aspect ratio

Frame aspect ratio describes the ratio of width to height in the dimensions of an image. For example, DV NTSC has a frame aspect ratio of4:3 (or 4.0width by 3.0 height)and a typical widescreen frame has a frame aspect ratio of 16:9. Many cameras that have a widescreen mode can record using the 16:9 aspect ratio. Many films have been shot using even wider aspect ratios.

416

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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 must decide how to reconcile the different values. For example, there are two common techniques for showing a widescreen movie with a 16:9 frame aspect ratio on a standard television with a 4:3 frame aspect ratio. You can fit the entire width of the 16:9 frame in a black 4:3 frame (called letterboxing), which results in black bands above and below the widescreen frame. Or you can fill the 4:3 frame vertically with the entire height of the 16:9 frame, varying the horizontal position of the 16:9 frame behind the narrower 4:3 frame so that important action is visible in the 4:3 frame (called pan & scan). In Adobe Premiere Pro, you can implement either technique by using Motion effect properties such as Position and Scale.

C D

NTSC displays A. 16:9 NTSC footage B. DVD player display using original widescreen format on widescreen TV screen C. 16:9 image on a 4:3 TV screen cropped using automatic pan and scan D. 16:9 image on a 4:3 TV screenusing automaticletterboxing to reduce overall frame size and display entire image

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Pixel aspect ratio

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. For example, many computer video standards define a 4:3 aspect ratio frame as 640 pixels wide by 480 pixels high, which results in square pixels. Video standards such as DV NTSC define a 4:3 aspect ratio frame as 720 x 480 pixels, which results in narrower, rectangular pixels because there are more pixels within the same frame width. The computer video pixels in this example have a pixel aspect ratio of 1:1 (square), whereas the DV NTSC pixels have a pixel aspect ratio of 0.9 (nonsquare). DV pixels, which are always rectangular, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video. Adobe Premiere Pro displays a clip’s pixel aspect ratio next to the clip’s image thumbnail in the Project panel.

Ifyoudisplayrectangularpixelsonasquare-pixelmonitorwithoutalteration,imagesappeardistorted;forexample, circles distort into ovals. However, when displayed on a broadcast monitor, the images appear correctly proportioned because broadcast monitors use rectangular pixels. Adobe Premiere Pro can display and output clips of various pixel aspect ratios withoutdistortionbecause it attemptsto automatically reconcile them withthe pixel aspect ratio of your project. You may occasionally encounter a distorted clip if Adobe Premiere Pro interprets pixel aspect ratio incorrectly. You can correct the distortion by manually specifying the source clip’s pixel aspect ratio.

AB C

Pixel and frame aspect ratios A. 4:3 square-pixel image displayed on 4:3 square-pixel (computer) monitor B. 4:3 square-pixel image interpreted correctly for display on 4:3 non-square pixel (TV) monitor C. 4:3 square-pixel image interpreted incorrectly for display on 4:3 non-square pixel (TV) monitor

Using assets with various aspect ratios

Adobe Premiere Pro automatically attempts to preserve the image aspect ratio of imported assets, sometimes changing the pixel aspect ratio, the frame dimensions, or both so that the asset does not appear cropped or distorted when used in a sequence. Assets created in an Adobe Creative Suite application contain metadata that allows Adobe Premiere Pro tomake the calculations automatically and precisely. For assets lacking this metadata, Adobe Premiere Pro applies a set of rules to interpret pixel aspect ratio.

When you capture or import NTSC footage with the ATSC frame size of 704 x 480, the D1 frame size of 720 x 486, or the DV frame size of 720 x 480, Adobe Premiere Pro automatically sets the pixel aspect ratio for that asset to D1/DV NTSC (0.9). When you capture or import footage with the HD frame size of 1440 x 1080, Adobe Premiere Pro automatically sets the pixel aspect ratio for that file toHD 1080 Anamorphic (1.33).When youcapture or import PAL footage with the D1 or DV resolution of 720 x 576, Adobe Premiere Pro automatically sets the pixel aspect ratio for that file to D1/DV PAL (1.067).

For other frame sizes, Adobe Premiere Pro assumes that the asset was designed with square pixels and changes the pixel aspect ratio and frame dimensions in a way that preserves the asset’s image aspect ratio. If the imported asset is distorted, you may need to change the pixel aspect ratio manually.

When you drag an asset into a sequence, Adobe Premiere Pro centers the asset in the program frame by default. Depending on its frame size, the resulting image may be too small or overcropped for the needs of the project. If so, youmayneedtochangeitsscale.YoucandothismanuallyorhaveAdobePremiereProdoitautomaticallywhenever you drag an asset into a sequence.

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It is always a good idea tomake sure that files are interpreted correctly. You can read an asset’s frame dimensions and pixel aspect ratio near the preview thumbnail and in the Video Info column of the Project panel. You can also find this data in the asset’s Properties dialog box, the Interpret Footage dialog box, and the Info panel.

See also

“To return a logo to its original size or aspect ratio” on page 218

“About the Info panel” on page 17

To change pixel aspect ratios

The preset you choose when you create a project sets the frame and pixel aspect ratios for the project. You can’t change these after you save the project file, but you can change the pixel aspect ratio that Adobe Premiere Pro assumes for individual assets. For example, if a square-pixel asset generated by a graphics or animation program looks distorted in Adobe Premiere Pro, you can correct its pixel aspect ratio to make it look right. By ensuring that all files are interpreted correctly, you can combine footage with different ratios in the same project and generate output that doesn’t distort the resulting images.

1 Select the file in the Project panel.

2 Choose File > Interpret Footage, specify options in the Pixel Aspect Ratio section, and click OK.

See also

“To adjust the pixel aspect ratio of an imported still image” on page 88

To scale assets manually

When you drag an asset into a sequence, by default Adobe Premiere Pro preserves its frame size and centers the asset in the program frame. You can rescale the asset without distortion if its pixel aspect ratio has been interpreted correctly.

1 Drag the asset into a sequence and select the asset.

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.

5 Move the Scale slider left or right to decrease or increase the size of the frame.

To scale assets automatically

When you drag an asset into a sequence, Adobe Premiere Pro preserves its frame size and centers the asset in the program frame. Instead, you can automatically scale imported assets to the project’s default frame size.

1 Choose Edit > Preferences > General.

2 Select Default Scale To Frame Size.

3 Click OK.

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About square-pixel footage

Many graphics and animation programs generate square-pixel assets meant for display on square-pixel computer monitors. Adobe Premiere Pro, however, typically generates files with non-square pixels for display on television sets. Adobe Premiere Pro automatically conforms square-pixelassets to the project’s pixelaspect ratio.After the asset is conformed, however, it no longer has its original frame aspect ratio. Also, its frame aspect ratio is not likely to match that of the project, even if it did before it was conformed.

For example, suppose you generate a square-pixel asset at 720 x 540 and import it into an Adobe Premiere Pro DV project with an aspect ratio of 720 x 540. In this case, the asset will be wider than the screen when it is conformed. YoucanusetheScalecontroltosetthesizeoftheasset’sframewithintheproject’sframe.However,topreservethe asset’s frame aspect ratio, Adobe Premiere Pro often needs either to crop the asset or to frame it within black bars.

You can prevent this kind of cropping and framing by generating assets from your square-pixel graphics or animationprogramsinaframeaspectratiothat,whenconformed,matchestheproject’sframesizeexactly.Forbest results, use programs such as Adobe Photoshop and After Effects that include pixel aspect ratio settings, and set the frame dimensions and pixel aspect ratio to match those of your project. If the pixel aspect ratio setting is unavailable in your program, do not try to match the frame dimensions (for example, 720 x 540). Instead, ensure that the overall frame aspect ratio matches that of your project (for example, 4:3 or 16:9). Adobe Premiere Pro automatically adjusts the video so that it is not distorted.

If your square-pixel program requires frame dimensions, use the option that matches your project’s output:

• 4:3 DV (NTSC) or ATSC SD—create and save the square-pixel file at 720 x 534.

• 4:3 D1 (NTSC)—create and save the square-pixel file at 720 x 540.

• 4:3 DV or D1 (PAL)—create and save the file at 768 x 576.

• 16:9 DV (NTSC)—create and save the file at 864 x 480.

• 16:9 D1 (NTSC)—create and save the file at 864 x 486.

• 16:9 DV or D1 (PAL)—create and save the file at 1024 x 576.

• 16:9 1080i HD—create and save the file at 1920 x 1080.

• 16:9 720p HD—create and save the file at 1280 x 720.

To correct recurring misinterpretations

Adobe 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.

1 Open a text editor, such as Notepad.

2 From within the text editor, go to the Adobe Premiere Pro Plug-ins folder.

3 Open the file named Interpretation Rules.txt.

4 Edit the rule that you want to modify, and choose Save.

Common pixel aspect ratios for assets

Asset Pixel aspect ratio When to use

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Square pixels 1.0 Your footage has a 640 x 480 or 648 x 486 frame size, is

D1/DV NTSC 0.9 Yourfootage hasa 720 x486 or 720x 480 framesize, and

D1/DV NTSC Widescreen

D1/DV PAL 1.0666 Yourfootage has a720 x576 framesize, andyour desired

D1/DV PAL Widescreen 1.422 Yourfootage has a720 x576 framesize, andyour desired

Anamorphic 2:1 2.0 Yourfootage was shot using ananamorphic film lens, or

HDV 1080/DVCPRO HD 720 (After Effects), HD Anamorphic 1080 (Adobe Premiere Pro)

DVCPRO HD1080 (After Effects only)

1.2 Yourfootage hasa 720 x486 or 720x 480 framesize, and

1.33 Your footage has a 1440 x 1080 or 960 x 720 frame size

1.5 Your footage has a 1280 x 1080 frame size and your

1920 x 1080 HD (not HDV or DVCPRO HD), is 1280 x 720 HD or HDV, or was exported from an application that doesn’t support nonsquare pixels. This setting can also be appropriatefor footage that wastransferred from film or for customized projects.

your desiredresult is a4:3 frame aspectratio.This setting can also be appropriate for footage that was exported from an application that works with nonsquare pixels, such as a 3D animation application.

your desired result is a 16:9 frame aspect ratio.

result is a 4:3 frame aspect ratio.

result is a 16:9 frame aspect ratio.

was anamorphically transferredfrom a film frame with a 2:1 aspect ratio.

and your desired result is a 16:9 frame aspect ratio.

desired result is a 16:9 frame aspect ratio.

24P projects

About 24P footage

Because support for 24P footage is built into Adobe Premiere Pro, you need to make only minor preparations to capture,import, and export 24P projects. Adobe Premiere Pro includes project presets for 24P;after you create a 24P project, you import and capture your footage as usual.

Adobe Premiere Pro also includes two options for playback of 24P footage. Both options convert footage so that it plays back at 29.97 fps, but with subtle visual and performance differences.

In Adobe Premiere Pro, you can edit images that were captured using 24P and 24P Advance (24PA) interlacing schemes. These formats allow you to capture footage to NTSC DV tape at 24 progressive frames per second.

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Working with the 24P modes is useful when you intend to author a progressive scan DVD. Because Adobe Premiere Pro recognizes 24P modes,you canperform yourcapture and edits within the program. Then, you can use theAdobe Media Encoder to export the file from Adobe Premiere Pro. After you export the file, you can open it in Adobe Encore DVD, author your DVD, and then simultaneously export the project and burn it to DVD as a 24P MPEG-2 stream. The resulting DVD is playable on any DVD player and exhibits no interlacing artifacts if you have a 480p-capable (progressive scan-capable) DVD player and television. Alternatively, you can export the Adobe Premiere Pro 24P project in a format, such as still-image sequences, appropriate for transfer to film.

Note: Adobe Premiere Pro accepts 24P and 24PA footage only from cameras using the 24P schemes.

To create a 24P project

1 Open a new project.

2 In the New Project dialog box, choose the Load Preset tab.

3 From the Available Presets list, choose the DV - 24P folder.

4 Choose the 24P format that matches your footage.

5 Select a location, type a name for your project, and click OK.

Note: If you capture 24P footage, Adobe Premiere Pro recognizes the footage as 24P and treats it accordingly, regardless of your project settings.

To set 24P playback options

1 Choose Project > Project Settings > General.

2 Click the Playback Settings button.

3 In the 24p Conversion Method pane, select one of the following options:

Repeat Frame (ABBCD) Duplicates frames where necessary to maintain 29.97 fps playback. This option uses fewer

CPU resources.

Interlaced Frame (2:3:3:2) Combines the frames in a telecine-like scheme to maintain 29.97 fps playback. This

option produces smooth playback but uses more CPU resources.

4 Click OK in the Playback Settings dialog box, and click OK in the Project Settings dialog box.

To simulate film transfer

By default, Adobe Premiere Pro converts 24P DV footage to play back at 24P. If you prefer the film transfer look, however, you can make it play 24 fps footage at 29.97 fps.

Additionally, you can apply any of a number of third-party film-look plug-in effects to the master sequence. These plug-ins can often performtelecine-style conversion, or add grainor colorcorrection to simulate variousfilm stocks. Pay close attention to lighting and, during shooting, use tripods and do slow pans to create the appearance of using a heavy film camera. Attention to these details will give your project more of a film look.

1 Right-click a 24P clip in the Project panel.

2 Select Interpret Footage.

3 Under Frame Rate, check Remove 24p DV Pulldown.

4 Click OK.

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About 24P timecode

When you import 24P footage, Adobe Premiere Pro treats it as 23.976 fps progressive scan footage. Because of this, when you work with 24P footage in a 24P project, the timecode is displayed as 24 fps. However, the camera records and logs 24P footage in 30 fps nondrop-frame timecode. When you log 24P footage for capture, you log clips according to the camera’s timecode count of 30 fps nondrop-frame timecode.

For example, a clip that you log for capture may have an In point of 00:01:00:28. However, as an offline clip in a 24P project, the In point is shown as 00:01:00:23. In addition, mixing non-drop-frame footage with drop-frame footage can cause larger differences in timecode display between the project and the clip, with minutes, seconds, and entire durations seemingly out of sync. Be aware of these discrepancies as you edit.

To display 24P source timecode

If you use30 fps nondrop-frame timecode for projects containing 24P footage, Adobe Premiere Pro drops every fifth framefromthe24Pfootagetimecodecount.Whenyouviewthepropertiesofyour24Pclip,theframerateisshown as 23.976, but the timebase as 29.97. If you’d prefer to read a clip’s original timecode, do the following:

1 Right-click the clip in the Project panel.

2 Select Interpret Footage > Use Frame Rate from File.

Improving performance

About scratch disks

When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats. Adobe Premiere Pro uses conformed audio files and preview files to optimize performance, allowing real-time editing, 32-bit floating-point quality, and efficient output.

All scratch disk files are preserved across work sessions. If you delete preview files or conformed audio files, Adobe Premiere Pro automatically recreates them.

By default, scratch disk files are stored where you save the project. The scratch disk space required increases as sequences become longer or more complex. For best performance, it is recommended that you dedicate a hard drive or drivesstrictly to yourmedia assets. Specify these dedicateddisks as yourscratch disks. If your systemhas multiple disks, you can use the Edit > Preferences > Scratch Disks command to specify which disks Adobe Premiere Pro uses for media files. This is best done when you set up a new project.

In terms of performance, it’s usually best to dedicate a different disk to each asset type, but you can also specify folders on the same disk. You can specify unique scratch disk locations for the following types of file:

Captured Video Video files that you create using File > Capture.

Captured Audio Audio files that you create using File > Capture.

Video Previews Files created when you use the Sequence > Render Work Area command, export to a movie file, or

export to a device. If the previewed area includes effects, the effects are rendered at full quality in the preview file.

Audio Previews Files created when you use the Sequence > Render Work Area command, use the Clip > Audio

Options > Render And Replace command, export to a movie file, or export to a DV device. If the previewed area includes effects, they are rendered at full quality in the preview file.

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Media Cache Files created by the Media Cache feature, including conformed audio files, PEK audio files and video

index files (for MPEG).

DVD Encoding Files created when you export movies to a DVD folder.

To specify scratch disks

You set up scratch disks in the ScratchDisk pane of the Preferences dialog box. Before changing scratch disksettings, youcanverifytheamountoffreediskspaceontheselectedvolumebylookingintheboxtotherightofthepath.If the path is too long to read, position the pointer over the path name, and the full path appears in a tool tip.

1 Choose Edit > Preferences > Scratch Disks.

2 Identify a location for each type of file named in the dialog box. Adobe Premiere Pro creates a subfolder named

for each file type (for instance, Captured Video) and storesthe folder’s associated files in it. The pull-down menu lists three default locations:

My Documents Stores scratch files in the My Documents folder.

Same As Project Stores scratch files in the same folder where the project file is stored.

Custom Allows you to specify a location of your choosing. Choose Custom, then click Browse and browse to any

available folder.

Maximizing scratch disk performance

For maximum performance, follow these guidelines:

• If your computer has only one hard disk, consider leaving all scratch disk options at their default settings.

• Set up scratch disks on one or more separate hard disks. In Adobe Premiere Pro, it’s possible to set up each type

of scratch disk to its own disk (for example, one disk for captured video and another for captured audio).

• Specify only partitions formatted for the NTFS file format as scratch disks. FAT32 partitions do not support large

file sizes.

• Specify your fastest hard disks for capturing footage and storing scratch files. You can use a slower disk for audio

preview files and the project file.

• Specify only disks attached to your computer. A hard disk located on a network is usually too slow. Avoid using

removable media because Adobe Premiere Pro always requires access to scratch disk files. Scratch disk files are preserved for each project, even when you close the project. They are reused when you reopen the project associated with them. If scratch disk files are stored on removable media and the media are removed from the drive, the scratch disk won’t be available to Adobe Premiere Pro.

• Although you can divide a single disk into partitions and set up partitions as scratch disks, this doesn’t improve

performance because the single drive mechanism becomes a bottleneck. For best results, set up scratch disk volumes that are physically separate drives.

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Correcting mistakes

To correct mistakes

In case you change your mind ormake a mistake,Adobe PremierePro providesseveral ways toundo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window.

❖ Do one of the following:

• To undo the most recent change, choose Edit > Undo. (You can sequentially undo as many as 100 recent changes

made to the project in any Adobe Premiere Pro panel. )

• To jump to a specific state of the project since the project was opened, select an item in the History panel.

• To undo all changes made since the last time you saved the project, choose File > Revert.

• Toundochangesmadebeforethelasttimeyousavedaproject,tryopeningapreviousversionofyourprojectin

the Premiere Auto-Save folder, and then choose File > Save As to store the project in a location outside of the Premiere Auto-Save folder. The number of previous versions saved depends on the Auto Save preference settings.

• To stop a change that Adobe Premiere Pro is processing (for example, when you see a progress bar), press Esc.

• To close a dialog box without applying changes, click Cancel.

• To set all values in an applied effect back to the default values, click the Reset button for the effect in the Effect

Controls panel.

See also

“To change the Auto Save settings” on page 29

“To open an Auto Save project” on page 29

History panel

Use the History panel to jump to any state of the project created during the current working session. Each time you apply a change to some part of the project, the new state of that project is added to the panel. You can modify the project from the state you select. History states aren’t available for actions within the Capture and Titler panels.

The following guidelines can help you with the History panel:

• Program-wide changes, such as changes to panels, windows, and preferences, are not changes to the project itself

and so are not added to the History panel.

• After you close and reopen the project, the previous states are no longer available in the History panel.

• The oldest state is at the top of the list, and the most recent one is at the bottom.

• Each stateis listed with the name of the tool or commandused to change the project as well as an icon representing

the tool or command.Some actionsgeneratea state for each panelaffected by the action,such as the Titler. Actions you perform in such a panel are treated as a single state in the History panel.

• Selecting a state dims those below it, to indicate which changes will be removed if you work from the project at

that state.

• Selecting a state and then changing the project removes all subsequent states.

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To work with the History panel

❖ Do any of the following:

• To select a state, click the name of the state in the History panel.

• 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. Then choose Delete from the panel menu or click the Delete icon and

click OK; alternatively, Alt-click the Delete icon.

• To clear all states from the History panel, choose Clear History from the panel menu.

User Guide

Chapter 4: Adobe Bridge

The basics of Bridge

About Adobe Bridge

Adobe Bridge is across-platform applicationprovided with Adobe Creative Suite and Adobe Production Studio. You can use Bridge to organize, browse, and locate the assets you need to create content for print, the web, television, DVD, film, and mobile devices. Bridge keeps native Adobe files (such as PSD and PDF) as well as non-Adobe application files available for easy access. You can drag assets into your layouts, projects, and compositions as needed, preview them, and even add metadata (file information), making the files easier to locate.

File browsing FromBridgeyoucanview,search,sort,manage,andprocessimagefiles.YoucanuseBridgetocreate

new folders; rename, move, and delete files; edit metadata; rotate images; and run batch commands. You can also view information about files and data imported from your digital or DV camera.

Version Cue If you have Adobe Creative Suite 2, you can use Bridge as a central location from which to use Adobe

Version Cue applicationforeachfile,includingnon-Adobeapplicationfiles.Also,youcancreatenewVersionCueprojects,delete projects, create versions, save alternates, and set access privileges in Bridge.

. From Bridge, you can browse all the files in a project in one place without having to start the native

Note: Adobe Version Cue is not included with Production Studio.

Bridge Center If you have Adobe Creative Suite 2, Adobe Bridge includes Bridge Center, where you can view news

readersinyourwebbrowser,seeyourmostrecentactivity,readabouttipsandtricksforusingAdobeproducts,save groups of files, and more. Adobe CreativeSuite 2 users can also use Bridge to specify color management settings and access scripts that help automate your workflow.

Note: Bridge Center is not included with Production Studio.

Camera Raw If you have Adobe Photoshop

files from Bridge, edit them, and save them in a Photoshop-compatible format. You can edit the image settings directly in the Camera Raw dialog box without starting Photoshop. If you don’t have Photoshop or After Effects installed, you can still preview the camera raw files in Bridge.

Stock Photos Click Adobe Stock Photos from the Favorites pane in Bridge to search leading stock libraries for

royalty-free images. You can download low-resolution, complimentary versions of the images and try them out in your projects before purchasing them.

Color management You can use Bridge to synchronize color settings across Adobe Creative Suite 2 applications.

This synchronization ensures that colors look the same no matter which Creative Suite application you view them in.

or Adobe After Effects installed, you can open or import camera raw

See also

“About Adobe Stock Photos” on page 56

The Bridge work area

These are the main components of the Adobe Bridge window:

The Look In menu Lists the folder hierarchy, as well as favorite and recent folders. This menu gives you a quick way

to find folders containing the items you want to display. The menu is at the top of the Bridge window.

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The Favorites panel Gives you quick access to folders as well as to Adobe Stock Photos and collections. If you have

Adobe Creative Suite 2, you also have access to Version Cue and Bridge Center.

The Folders panel Shows the folder hierarchy. Use it to navigate to the correct folder.

The Preview panel Displays a preview of the selected file. The preview is separate from, andtypically larger than, the

thumbnail image displayed in the content area. You can reduce or enlarge the preview.

The Metadata panel Contains metadata information for the selected file. If multiple files are selected, shared data

(such as keywords, date created, and exposure setting) is listed.

The Keywords panel Helps you organize your images by attaching keywords to them.

To start and quit Bridge, and to return to an application

Do any of the following:

• To open Bridge from an application, choose File > Browse from your application.

• (Windows) To open Bridge directly, choose Adobe Bridge from the Start menu.

• (Mac OS) To open Bridge directly, double-click the Adobe Bridge icon . By default, this is located in the Appli-

cations/Adobe Bridge folder.

• To quit Bridge, choose File > Exit (Windows) or Bridge > Quit Bridge (Mac OS).

• To return to the last open application that started Bridge, choose File > Return To [Application].

If Production Studio is installed, using File > Browse to launch Bridge within a Production Studio application lets

you double-click a file to open or import it within that application. For example, if you choose File > Browse from within Adobe Premiereand then double-clicka Photoshop file, the file is added to the Premiere Project panel, not opened in Photoshop.

See also

“To manage files with Bridge” on page 47

To create and close Bridge windows

❖ Do one of the following:

• Choose File > New Window to create a full-size Bridge window.

• Choose File > Close Window. In Windows, this command quits Bridge as well.

See also

“The Bridge work area” on page 40

To use Bridge in Compact mode

SwitchtoCompactmodewhenyouwanttoshrinktheBridgewindow.InCompactmode,thepanelsarehiddenand the content area is simplified. A subset of common Bridge commands remains available from the pop-up menu at the upper right portion of the window.

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By default, the Compact mode Bridge window floats on top of all windows. (In Full mode, the Bridge window can movebehindapplicationwindows.)Thisfloatingwindowisusefulbecauseitisalwaysvisibleandusableasyouwork in different applications. For instance, you might use Compact mode after you select the files you plan to use, and then drag them into the application as needed.

1 Click the Switch To Compact Mode button .

2 Do any of the following:

• Choose commands from the menu at the top right of the Bridge window.

• Click the Switch To Ultra Compact Mode button to hide the content area, further minimizing the Bridge

window. You can click the button again to return to Compact mode.

• Click the Switch To Full Mode button to return to Full mode, displaying the content area and the panels, and

letting Bridge move behind the current application window.

See also

“The Bridge work area” on page 40

To adjust the Bridge window

You can adjust the Bridge window by moving and resizing the panels. For example, you can enlarge the Preview panel to display bigger thumbnails. However, you can’t move panels outside the Bridge window.

❖ Do any of the following:

• Drag a panel by its tab up or down into another panel area.

• Drag the horizontal divider bar between panels to make them larger or smaller.

• Drag the vertical divider bar between the panels and the content area right or left to resize the panels or content

area.

• Click the Show/Hide Panes button at the lower left of the Bridge window to display or hide the panels.

• Choose View, followed by the name of the panel you want to display or hide.

See also

“The Bridge work area” on page 40

To select Bridge workspaces

A Bridge workspace is a certain configuration or layout of the work area. You can select either a premade workspace or a custom workspace that you have previously saved.

❖ Choose Window, followed by the name of the workspace you want, or choose Window > Workspace, followed by

one of the following commands:

Lightbox Displays just the content area of Bridge, so that you can concentrate on viewing the files.

File Navigator Displays the content area in Thumbnails view, along with the Favorites panel and Folder panel.

Metadata Focus Displays the content area in Thumbnails view, along with the Metadata panel prominently shown.

Filmstrip Focus Displays just the content area, in Filmstrip view.

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To save and delete Bridge workspaces

You can save the current Bridge layout (that is, the work area configuration) as a workspace and reuse it later. By saving Bridge in various configurations, you can work in (and quickly switch between) different layouts of the work

area. For instance, you might use one workspace to sort new photos and another to work with Adobe InDesign

❖ Choose Window > Workspace, followed by one of these commands:

Save Workspace Saves the current Bridge layout as a workspace so that you can reuse it later, even if you move a

files.

panelorchangetheviewinthecontentarea.Ifyouchoosethiscommand,enteranamefortheworkspaceandclick Save.YoucanalsoassignakeyboardshortcuttotheworkspaceandspecifywhethertosavethelocationoftheBridge window as part of the workspace.

Delete Workspace Deletesthesavedworkspace.Ifyouchoosethiscommand,choosetheworkspacefromthemenu,

and click Delete.

Reset To Default Workspace Restores the workspace to the default configuration.

To set Bridge preferences

1 Choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS).

2 Select any of the preferences categories on the left:

General Controls the general appearance settings.

Metadata Controls which sections and fields are displayed in the Metadata panel.

Labels Assigns names to each color label and specifies whether you need to press Ctrl as part of the keyboard

shortcut combination to apply labels and ratings to files.

File Type Associations Specifies which application to use from Bridge to open files of the named type. For any file

type, you can click the name of the application (or None) and click Browse to locate an application to use. You can also reset the file type associations to their default settings as well as hide any file types that don’t have an associated application.This affects only those files that you open with Bridge, and overrides theExplorer (Windows) and Finder (Mac OS) settings.

Adobe Stock Photos Specifies Adobe Stock Photos settings.

Advanced Specifies advanced settings, including cache options and language options.

3 Click OK.

See also

“Bridge General preferences” on page 43

“Bridge Advanced preferences” on page 44

“To set Adobe Stock Photos preferences” on page 64

Bridge General preferences

Set any of the following General preferences and click OK:

Background Specifies the darkness of the content area in which thumbnails are shown.

Show Tooltips Specifies whether to display Bridge help information when you position the pointer over an item.

(This preference does not affect settings for Version Cue tool tips, which display metadata for items.)

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User Guide

Additional Lines Of Thumbnail Metadata Specifies whether to show additional metadata information with thumb-

nailsinthecontentarea.Ifyouselectthisoption,youcanchoosethetypeofmetadatatoshowfromtheassociated menu. You can display up to three extra lines of information.

Favorites Items Specifies what items to show in the Favorites panel. Certain options are dimmed if you do not have

those items.

Reveal Scripts In Explorer/Finder Opens the folder that contains scripts (the commands available in the Tools

menu).

Reset All Warning Dialogs Resets warning notices in Bridge to their default settings.

Bridge Advanced preferences

Set any of the following Advanced preferences and click OK:

Do Not Process Files Larger Than Specifies the maximum file size of documents for which Bridge automatically

creates thumbnails. Displaying large files can slow performance.

Number Of Recently Visited Folders To Display In The Look In Popup Sets the number of most recently viewed

folders that appear in the Look In menu.

Language Sets the language used in the Bridge interface.

Double-Click Edits Camera Raw Settings In Bridge Opens camera raw files in the Adobe Camera Raw dialog box in

Bridge.

Use A Centralized Cache File Places the two cache files created for each folder you view in a centralized folder. A

centralized cache is generally easier to use than a distributed cache. For instance, when the cache is centralized, you don’t have to search in multiple, distributed locations if you want to remove the cache. To specify a new name or location for this centralized cache folder, click Choose.

Use Distributed Cache Files When Possible Placesthetwocachefilescreatedforeachfolderdisplayedintheviewed

folder,ifpossible.Forinstance,it’snotpossibletoplacethecachefilesintheviewedfolderifthatfolderisonaburned CD. In that case, Bridge places the cache files in the centralized folder instead. However, if you are burning a CD, using a distributed cache means that you don’t have to export the cache to the CD, because it is already in the folder being burned to the CD.

Note: Cache files are hidden files. To view them in Bridge, choose View > Show Hidden Files.

To work with the cache in Bridge

The cachestores thumbnail, metadata,and file information to shortenloading times when you return to a previously viewed folder. However, storing the cache takes up disk space.

Note: Purging the cache deletes the metadata cache and thumbnail cache. If the metadata can’t be written to a file, label and rating information is lost as well.

❖ Choose any of the following commands from the Tools > Cache submenu:

Build Cache For Subfolders Builds, asa background process, a cache for the selected folder and all the folders within

it (except aliases/shortcuts to other folders). This shortens the time spent waiting for the cache to be displayedas you look in subfolders.

Purge Cache For This Folder Clears the cache for the selected folder. This command is useful if you suspect that the

cache for a folder is old and needs to be regenerated.

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Purge Central Cache Clears the entire centralized cache and any distributed cache in the currently viewed folder,

freeing room on the hard drive. The command does not otherwise clear local caches.

Export Cache Exports the cache, allowing you to burn a CD with the cache already generated. Because the folder

cache is written into the folder, the thumbnail cache and metadata cache are available after you burn the CD. This option is active only if you chose Use A Centralized Cache File in the Preferences dialog box.

Files and folders in Bridge

To view file and folder thumbnails in Bridge

The content area of Bridge displays thumbnails of the files and folders of the selected folder, along with information about them. You can specify how you want files and folders to be displayed in the content area.

❖ Do any of the following:

• Drag the Thumbnail slider at the bottom of the Bridge window to adjust the size of thumbnails.

• Choose View > As Thumbnails to display items in a grid.

• Choose View > As Filmstrip to display thumbnails in a scrolling list along with an extra-large thumbnail of the

currently selected item. Click the Back button or Forward button directly below the extra-large thumbnail to go to the previous or next thumbnail. Click the Switch Filmstrip Orientation button to change from a horizontal slide show to a vertical one. Note that you can page through a PDF preview in Filmstrip view.

• Choose View > As Details to display a scrollable list of thumbnails along with information about the selected file.

• Choose View > As Versions And Alternates to display a scrollable list of thumbnails, including thumbnails of any

Version Cue alternates and versions for each item (Adobe Creative Suite 2 only). Only the current file appears unless you have created an alternates group containing the file or created previous versions of the file. Click Alternates View or Versions View at the top right of the content area to display thumbnails of alternates or versions. In Alternates View, you can also create alternates groups containing files that are not in the current folder.

• Choose View > Show Thumbnail Only to view thumbnails without any text information listed. However, Version

Cue tool tips still display Version Cue information when you position the pointer over the thumbnail.

• Choose View > Slideshow to view thumbnails as a slide show that takes over the entire screen. This is a quick and

easywaytodisplayandworkwithlargeversionsofallthegraphicsfilesinafolder.Instructionsonhowtousethe slide show are displayed on the screen when you choose this command.

Depending on the view you’re in, you can display extra file information by positioning the pointer over a thumbnail

in the content area. For files in Version Cue projects (Adobe Creative Suite 2 only), you can also choose File > Versions or File Alternates. This command opens a dialog box that lets you work with the file’s versions or alternates without having to select that view in the Bridge content area.

To specify how files and folders are shown in Bridge

You can specify what type of files and folders you want to display as thumbnails in the content area, as well as the order in which to display them.

❖ Choose any of the following commands from the View menu:

• Sort, followed by the order in which you want to sort files. Choose Ascending to sort in ascending rather than

descending order. Choose Manually to sort by the last order in which you dragged the files.

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• Show Hidden Files to display hidden files, such as cache files and Version Cue files that have been provisionally

User Guide

removed (not permanently deleted) from Version Cue projects.

• Show Folders to display folders as well as individual files.

• Show All Files to display all files regardless of type, even non-Adobe files that Bridge doesn’t normally display.

• Show Graphic Files Only to display only files in graphic file formats, such as EPS, JPEG, BMP, PS, TIFF, and GIF.

• Show Camera Raw Files Only to display only camera raw files.

• Show Vector Files Only to display only files created with drawing programs such as Adobe Illustrator

, and EPS

and PS files.

• Refresh (or choose Refresh from the Folders panel menu) to update the content area. This is useful, for instance,

when you perform certain Version Cue actions that don’t automatically refresh the view in the content area. Closing and reopening Bridge also refreshes the view.

YoucanalsoclickUnfilteredatthetoprightoftheBridgewindowandchoosethefilesyouwanttodisplaybasedon their rating or label. The Unfiltered menu operates independently of the View > Sort commands.

To navigate folders and files with Bridge

❖ Do any of the following:

• Select theFolders paneland click to select the folder you want. Click the plus sign(Windows) or triangle(Mac OS)

next to a folder or double-click the folder to open subfolders within it.

• Select the Favorites panel and click to select the folder you want.

• Choose a folder from the Look In menu. You can click the Go Back button, Go Forward button, or Go Up button

next to the menu to navigate within the current folder listed in the menu.

See also

“To specify how files and folders are shown in Bridge” on page 45

To select files in Bridge

Before you can work with a file, you need to select it. You can select more than one file at a time.

❖ Do one of the following in the current folder:

• Click the thumbnail of a file.

• To select contiguous files, Shift-click them.

• To select noncontiguous files, Ctrl-click (Windows) or Command-click (Mac OS) them.

• To select all labeled or unlabeled files, choose Edit > Select Labeled or Edit > Select Unlabeled.

• To select the opposite of the current selection, choose Edit > Invert Selection.

To open files in Bridge

You can open files in Bridge, even files that were not made with Adobe applications.

1 Select the file in the current folder.

2 Do one of the following:

• Choose File > Open.

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• Press Enter (Windows) or Return (Mac OS).

• Double-click the file in the content area or Preview panel.

• Choose File > Open With, followed by the name of the application with which to open the file.

• Drag the file into the working area of an application, such as an open Illustrator document.

• Drag the file onto the application icon.

• Choose File > Open In Camera Raw to edit the Adobe camera raw settings for the file.

• Choose File > Open In Adobe Encore DVD As, followed by the file type (Asset, Menu, Timeline, or Slideshow)

you want to use (Windows only).

If you choose File > Browse to launch Bridge within a Production Studio application, double-clicking a file opens or

imports that file within the application.

To manage files with Bridge

Adobe Bridge makes it easy to drag and drop files, move them between folders, copy and duplicate them, and otherwise manipulate them.

Note: IfyouhaveAdobeCreativeSuite2,youcanalsouseAdobeVersionCuefromBridgetomanagefilesyouauthor. You can create and manage revisions to files kept in Version Cue projects. Version Cue is also a convenient environment for collaborative file management in workgroups. You can manage not only Adobe Creative Suite files but also other Adobe and non-Adobe files.

❖ Do any of the following:

To delete files Select the files and click the Delete button or press Delete.

To copy files and folders Select the files or folders and choose Edit > Copy, or Ctrl-drag (Windows) or Option-drag

(Mac OS) the file or folders to a different folder.

To move files to another folder Select the files and drag them to a different folder. (When you search for Adobe

Stock Photos, you can’t drag images to other areas, because some images may be comp thumbnails. To drag a comp image, first download it and then drag it from the downloaded comp’s folder.)

To quickly attach an image to an e-mail message, drag the image from Bridge and drop it into the e-mail message.

To display the location of a file in the operating system Select the file and choose File > Reveal In Explorer

(Windows) or File > Reveal In Finder (Mac OS).

To find the location of a file in a collection Select a file and choose File > Reveal In Bridge. A collection is a saved

search. By default, if you select a file in a collection, the file is listed as being located in the folder “File Results.” Selecting Reveal In Bridge moves you to the folder in which the file is located.

To place files into an application SelectthefilesandchooseFile >Place,followedbythenameoftheapplication.For

instance, you can use this command to place a JPEG image into Illustrator. You can also drag files from Bridge into an application. Depending on the file, the document into which you want to place it may need to be opened first.

To drag files out of Bridge Selectthefilesanddragthemontothedesktoporintoanotherfolder.Thisactionmoves

the file onto the desktop or folder.

To drag files into Bridge Select one or more files on the desktop, in a folder, or in another application that supports

drag and drop, and drag them into the content area in Bridge. The files are moved from their current folder into the one displayed in Bridge. (If the file you are dragging is in a different mounted volume than Bridge, the file is copied into Bridge.)

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Drag a file or folder onto the Preview panel to display the contents of the folder in Bridge.

To manage folders with Bridge

❖ Do any of the following:

To create new folders Choose File > New Folder. Then, enter a name when the folder appears in the content area.

To delete folders Select the folder and press Delete.

To add folders to Favorites Choose a folder from the Look In menu or Folders panel or select it in the content area.

Then choose File > Add To Favorites. You can also drag the folder from the content area to the Favorites panel.

To remove folders from Favorites In the Favorites panel, select the folder you want to remove. Then choose File >

Remove From Favorites.

To reorganize folders in the Favorites panel Drag the folder to the desired location in the panel.

To rotate images with Bridge

You can rotate the view of JPEG, PSD, TIFF, and camera raw file images in Bridge. Rotating an image in Bridge may rotate it in the application in which it was created as well. Rotating does not affect the data in the image file.

1 Select one or more images in the content area.

2 Choose Edit > Rotate 90˚ Clockwise, Rotate 90˚ Counterclockwise, or Rotate 180˚.

To label files with Bridge

Labeling files with a certain color is a flexible way to mark a large number of files quickly. Using the View > Sort menu or Unfilter button, you can choose to view files according to their color label.

For example, suppose you’ve just imported a large number of images and are viewing them in Bridge. As you review each new image, you can label those you want to keep. After this initial pass, you can use the Unfilter button to display and work on files that you’ve labeled with a particular color.

You can assign names to labels through the Preferences dialog box. The name is then added to the file’s metadata when you apply the label.

Note: When you view folders, Bridge shows both labeled and unlabeled files until you choose another option. Also, purging the cache deletes labels from files that don’t support XMP write (such as BMP, DCS, Pict, PS6 PDF, and PSB files), locked files, or read-only files (such as files on CDs).

1 Select one or more files.

2 Do one of the following:

• To label files, choose a color from the Label menu.

• To remove labels from files, choose Label > No Label.

See also

“To specify how files and folders are shown in Bridge” on page 45

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To rate files with Bridge

When assigning ratings tofiles, you can award from zero tofive stars. Using theView > Sort menu or Unfilter button, you can choose to view files according to their rating.

For example, suppose you’ve just imported a large number of images and are viewing them in Bridge. As you review eachnewimage,youcanratethemfrombesttoworst.Afterthisinitialpass,youcanviewonlyfilesyou’veratedwith four or five stars and work on those.

1 Select one or more files.

2 Do any of the following:

• In Thumbnail view, click the dot representing the number of stars you want to give the file. (Dots do not appear

in very small thumbnail views. If necessary, rescale the thumbnail view until the dots appear.)

• Choose a rating from the Label menu.

• To add or remove one star, choose Label > Increase Rating or Label > Decrease Rating.

• To remove all stars, choose Label > No Rating.

See also

“To specify how files and folders are shown in Bridge” on page 45

To search for files and folders with Bridge

You can perform searches with Bridge. You can narrow your search by adding multiple search criteria. You can even save your search criteria as a collection, so that you can perform the same search again later.

1 Choose Edit > Find.

2 In the Find dialog box, choose asource folder from the Look In menu. By default, the menu displays the currently

active folder. Click the Browse button to navigate to another folder.

3 (Optional) Select Include All Subfolders to expand the search to any subfolders in the source folder.

4 (Optional) Select Search Past Versions Of Version Cue Files to include past versions of Adobe Version Cue files,

as well as current ones, in the search (Adobe Creative Suite 2 only).

5 (Optional) Select Show Find Results In A New Browser Window to display the search results in a new Bridge

window. If left unselected, the search results appear in the content area of the current window.

6 Choose a criterion for your search by selecting an option from the leftmost Criteria menu.

7 Select a limiter from the center Criteria menu.

8 Enter the search text in the text box at the right, if needed. You can enter basic search terms such as AND, OR,

and * (for wild cards).

9 To add search criteria, click the plus sign button. To remove search criteria, click the minus sign button.

10 Click Find. Bridge displays the files that match the search criteria, and you can navigate through the files.

11 (Optional) To save the search criteria to perform the same search again, click Save As Collection. Enter a name

for the collection. Select Start Search From Current Folder to search from the same folder in the future. Then, click Save. The search criteria are saved in the Collections folder listed in the Favorites panel.

See also

“To search with criteria saved as collections” on page 50

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To search with criteria saved as collections

If you saved search criteria by using the Save As Collection option in the Find dialog box, you can run that search again by using that collection.

1 Select Collections in the Favorites panel or Look In menu.

2 Double-click the collection you want.

A new Bridge window appears containing the results of the search.

See also

“To search for files and folders with Bridge” on page 49

Running automated tasks with Bridge

To run automated tasks with Bridge

The Tools menu contains submenus for various commands available in the different Adobe applications. For instance, if you have Adobe Photoshop installed, you can use the commands under the Tools > Photoshop submenu to make picture packages and create Photomerge panoramas using photos you select in Bridge. Running these tasks from Bridge saves time because you don’t have to open each file individually.

Note: Third parties can also create and add their own items to the Tools menu for added functionality in Bridge. For information about creating your own scripts, see Bridge JavaScript Scripting Reference.

1 Selectthefilesorfoldersyouwanttouse.Ifyouselectafolder,thecommandisappliedwherepossibletoallfiles

in the folder.

2 Choose Tools > [Application], followed by the command you want. (If your application doesn’t have any

automated tasks available, no application name appears in the menu.)

For information about a particular command, see the documentation for that application.

To batch-rename files with Bridge

You can rename files andfolders ina group, orbatch. When you batch-rename files, you canchoose the samesettings for all the selected files.

1 Do one of the following:

• Select the files that you want to rename.

• Select a folder in the Folders panel. The new setting will apply to all the files in the folder.

2 Choose Tools > Batch Rename.

3 Set the following options and click Rename:

• For Destination Folder, select whether you want to place the renamed files in the same folder or in a different

folder, move them to another folder, or place a copy in another folder. If you select Move To Other Folder or Copy To Other Folder, click Browse to select the folder.

• For New Filenames, choose elements from the menus or enter text into the text boxes. The specified elements and

text are combined to create the new file name. You can click the + button or - button to add or delete elements. A preview of the new file name appears at the bottom of the dialog box.

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Note: If you choose Sequence Number, enter a number. The number is automatically incremented for each file named.

• Select Preserve Current File Name In XMP Metadata if you want to retain the original file name in the metadata.

• For Compatibility, select the operating systems with which you want renamed files to be compatible. The current

operating system is selected by default, and cannot be deselected.

Metadata in Bridge

About metadata

Metadata is information about the file, such as the author’s name, resolution, color space, copyright, and keywords applied to it. You can use metadata to streamline your workflow and organize your files. This information is stored in a standardized way using the Extensible Metadata Platform (XMP) standard on which Adobe Bridge and the Adobe Creative Suite applications are built. XMP is built on XML, and in most cases the information is stored in the file so that it cannot be lost. If it is not possible to store the information in the file itself, XMP metadata is stored in a separate file called a sidecar file.

Many of the powerful Bridge features that allow you to organize, search, and keep track of your files and versions depend on XMP metadata in your files. Bridge provides two ways of working with metadata: through the Bridge Metadata panel and through the File Info dialog box. These methods provide different views into the XMP metadata stored in the file. In some cases, multiple views may exist for the same property. For example, a property may be labeled Author in one view and Creator in another, but both refer to the same underlying property. Even if you customize these views for specific workflows, they remain standardized through XMP. The Advanced view in the File Info dialog box displays the fundamental values being stored.

Metadata that is stored in other formats, such as EXIF, IPTC (IIM), GPS, and TIFF, is synchronized and described with XMP so that it can be more easily viewed and managed. Other applications and features (for example, Adobe Version Cue) also use XMP to communicate and store information such as version comments. For instance, when yousaveafileinVersionCue,youmightaddthecommentthatyourotatedthefilewhenyouworkedonit.Lateron, you could use Bridge to navigate to that Version Cue project and search for the term “rotate” to locate that file.

In most cases the metadata remains with the file even when the file format changes, for example, from PSD to JPG. Metadata is also retained when those files are placed in an Adobe InDesign layout.

You can use the XMP Software DevelopmentKit to customize thecreation, processing, and interchange of metadata.

For example, you can use the XMP SDK to add fields to the File Info dialog box. More information on XMP and the XMP SDK is available from the Adobe Solutions Network on the Adobe Website.

About the Metadata panel in Bridge

From the Metadata panel, you can view and edit the metadata for selected files, use metadata to search for files, and use templates to append and replace metadata. Metadata preserves information about the contents, copyright status, origin, and history of documents. Version Cue uses metadata to manage files.

You can specify the types of metadata displayed in the Metadata panel.

Note: If you have applied metadata to an Adobe Acrobat keywords are still attached to the PDF file.

Depending on the selected file, the following types of metadata appear in the Bridge Metadata panel:

File Properties Describes the characteristics of the file, including the size, creation date, and modification date.

PDF file, some keywords may not appear; however, these

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IPTC Core Displays editable metadata. You can add captions to your files as well as copyright information. IPTC

Core is a new specification that was approved by IPTC (International Press Telecommunications Council) in October 2004. It differs from the older IPTC (IIM, legacy) in that new properties have been added, some property names have changed, and some properties have been deleted. You can display the older IPTC (IIM, legacy) metadata by selecting it from the Metadata options in the Preferences dialog box.

IPTC (IIM, legacy) Displays editable metadata. As with IPTC Core, you can add captions to your files as well as

copyright information.This set of metadata is hidden by default, because it has been superseded by IPTC Core. However, you can choose it by selecting it from the Metadata options in the Preferences dialog box.

Fonts Lists the fonts used in Adobe InDesign files.

Swatches List the swatches used in Adobe InDesign files.

Camera Data (Exif) Displays information assigned by digital cameras. EXIF information includes the camera

settings used when the image was taken.

GPS Displays navigational information from a global positioning system (GPS) available in some digital cameras.

Photos without GPS information don’t have GPS metadata.

Camera Raw Displays settings applied by the Camera Raw plug-in.

Edit History Keeps a log of changes made to images with Photoshop.

Adobe Stock Photos Lists information about images obtained from Adobe Stock Photos.

Version Cue Lists any Version Cue version information about the file.

Note: Depending on the applications you are using, custom panels for various properties may appear here as well.

To view metadata with Bridge

❖ Do any of the following:

• SelectoneormorefilesandviewtheinformationintheMetadatapanel.Ifyouselectmultiplefiles,onlymetadata

that is common to the files appears. Use the scroll bars to view hidden categories. Click the triangle to display everything within a category.

You can change the font size in the panel by choosing Increase Font Size or Decrease Font Size from the panel menu.

• Select one or more files and choose File > File Info. Then, select any of the categories listed on the left.

• Choose View > As Details or View > As Versions And Alternates to display the metadata next to the thumbnails

in the content area. This is especially useful for viewing Version Cue files.

• Position the pointer over a thumbnail in the content area. (Metadata appears in a tool tip only if Show Tooltips is

selected in General preferences.)

To edit metadata with Bridge

1 Click the pencil icon to the far right of the metadata field you want to edit.

2 Type in the text box to edit or add metadata.

3 Press Tab to move through metadata fields.

4 When you have finished editing the metadata, click the Apply button at the bottom of the Metadata panel. To

cancel any changes you’ve made, click the Cancel button at the bottom of the panel.

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To specify the metadata displayed in the Metadata panel

1 Do one of the following:

• Choose Preferences from the Metadata panel menu.

• Choose Edit >Preferences (Windows) or Bridge > Preferences (Mac OS), and thenclick Metadata from the liston

the left side of the dialog box.

2 Select the metadata fields that you want to display in the Metadata panel.

3 Select the Hide Empty Fields option if you don’t want to view fields with no information in them.

4 Click OK.

To add metadata using the File Info dialog box

The File Info dialog box displays camera data, other file properties, an edit history, copyright and authorship information (if any), and custom metadata panels (if the application has installed them). You can add metadata directly from the File Info dialog box. If you select multiple files, the dialog box shows where different values exist for a text field. Any information you add to a field is applied to all selected files.

Note: You can also view metadata in the Metadata panel, in certain views in the content area, and by placing the pointer over the thumbnail in the content area.

1 Select one or more files.

2 Choose File > File Info.

3 Select any of the following from the list on the left side of the dialog box:

Description Lets you enter document information about the file, such as document title, author, description, and

keywords that can be used to search for the document. You can also choose text from the menu to the right of the text fields. To specify copyright information, select Copyrighted from the Copyright Status pop-up menu. Then enter the copyright notice string and the URL of the person or company holding the copyright.

Audio Data 1 Lets you enter information about the audio file, including the title, artist, and album.

Audio Data 2 Lists information about the audio file, including bit rate, duration, and loop settings.

Categories Lets you enter information based on Associated Press categories.You can also choose text from the menu

to the right of the text fields. The Categories option appears only if Adobe Photoshop is installed.

History Displays Adobe Photoshop history log information for images saved with Photoshop. The History option

appears only if Adobe Photoshop is installed.

Camera Data 1 Displays read-only information about the camera and settings used to take the photo, such as make,

model, shutter speed, and f-stop. The Camera Data 1 option appears only if Adobe Photoshop or Production Studio is installed.

Camera Data 2 Lists read-only file information about the photo, including pixel dimensions and resolution. The

Camera Data 2 option appears only if Adobe Photoshop or Production Studio is installed.

Adobe Stock Photos Lists read-only information about images obtained from Adobe Stock Photos.

Video Data 1 Lists information about the video file, including video frame width and height; and lets you enter

information about the video file, including tape name and scene name.

Video Data 2 Lists information about the video, including alternate tape name and timecode values.

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Origin Lets you enter file information that is useful for news outlets, including when and where the file was created,

transmission information, special instructions for handling the file, and headline information. You can also choose text from the menu to the right of the text fields.

Advanced Displays fields and structures for storing metadata using namespaces and properties, such as file format

and XMP, EXIF, and PDF properties. You can do any of the following with the information listed:

• Click Save to export the metadata to a text file (with the .xmp file-name extension).

• Click Replace to replace the metadata in the existing files with metadata saved in an XMP file. Values in existing

properties are replaced with the new values.

• Click Append to add the metadata in the existing files to metadata saved in an XMP file. Values in existing

properties are not replaced, and new values are appended or inserted where appropriate.

• Click Delete to remove the currently selected Advanced property. You can Shift-click to select multiple properties.

Note: Hold down the Alt key (Windows) or Optionkey (Mac OS) to change these commands to Replace All, Append All, and Delete All. These commands then affect all information in the file; that is, EXIF information that is not modifiable by the user, such as the f-stop and the Photoshop file ID information, as well as user-modifiable information, such as document title and keywords. Holding down Alt (Windows) or Option (Mac OS) alsodisplays the Resetbutton to restore the previous settings.

4 Click OK to apply the changes.

To work with metadata templates in Bridge

You can modify the metadata in the File Info dialog box and save it as a template for use with other files.

1 Create a new file using an Adobe Creative Suite or Production Studio application. This creates a file without

metadata from any other source.

2 Select the file.

3 Choose File > Info.

4 Enter the desired information in the File Info dialog box.

5 Choose any of the following from the menu at the upper right of the File Info dialog box:

• To save the metadata in the File Info dialog box as a template for use with other files, choose Save Metadata

Template. Enter a name for the template and click Save.

• To delete an existing metadata template, choose Delete Metadata Template. Choose the template you want to

delete from the menu in the dialog box and click Delete.

• To open the folder containing metadata templates, choose Show Templates.

6 Click OK. You can now also apply metadata templates to files with the Append Metadata and Replace Metadata

commands in the Tools menu and in the Metadata panel menu.

To apply metadata templates to files in Bridge

After you have saved metadata for one file, you can apply it to others.

1 Select one or more files.

2 Choose either of the following commands from the Metadata panel menu or the Tools menu:

• Append Metadata, followed by the nameof the template. This command applies thetemplate metadata only where

no metadata value or property currently exists in the file.

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• Replace Metadata, followed by the name of the template. This command completely replaces any existing

metadata in the file with the metadata in the template.

To apply keywords to files with Bridge

The Keyword panel lets you create and apply Bridge keywords to files. Keywords can be organized into categories called keyword sets.Usingkeywords,youidentifyfilesbasedontheircontent.Later,youcanviewallfileswithshared keywords as a group.

Note: Bridge keywords are distinct from XMP keywords created with the File Info dialog box. The latter are displayed in Version Cue files in the “Other Metadata” section of the File Info dialog box.

❖ Do any of the following:

• To add a keyword to files, select one or more files. In the Keywords panel, click the box next to the name of the

keyword you want to add. A check mark appears in the box next to the keyword when it’s added to a file.

• Toaddasetofkeywordstofiles,selectoneormorefiles.IntheKeywordspanel,clicktheboxnexttothenameof

the keyword set. A check mark appears in the box next to the keyword set when it’s added to a file.

Create a group of frequently used keywords so that you can apply them as a group.

• To remove keywords from a file, select the file, and then click the box next to the name of the keyword or keyword

set that you want to remove.

• To create a new keyword, click the New Keyword button at the bottom of the panel or choose New Keyword

from the panel menu. A new default keyword name appears in the panel. To create the new keyword, type over the default name and press Enter (Windows) or Return (Mac OS).

• To create a new keyword set, click the New Keyword Set button at the bottom of the panel or choose New

Keyword Set from the panel menu. A new default keyword set name appears in the panel. To create the new keyword set, type over the default name and press Enter (Windows) or Return (Mac OS).

• To rename a keyword or keyword set, select the keyword or keyword set and choose Rename from the panel menu.

Then, type over the name in the panel and press Enter (Windows) or Return (Mac OS).

Note: When you rename a keyword, the keyword’s name isn’t changed in files that currently contain it. The original name stays in the file.

• To move a keyword to a different keyword set, drag the keyword from one set to another.

• Todeleteakeyword,selectthekeywordbyclickingitsname,andthenclicktheDeleteKeywordbutton atthe

bottom of the panel or choose Delete from the panel menu.

Note: Keywords that you get from other users appear in the Other Keywords category until you recategorize them. To make these keywords permanent in Bridge, select the keyword and then choose Persistent from the context menu.

• To find a file using the keyword, choose Find from the panel menu.

Note: You can’t modify keywords in search results for Adobe Stock Photos.

See also

“To search for files and folders with Bridge” on page 49

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Adobe Stock Photos

About Adobe Stock Photos

Adobe Stock Photos lets you view, try, and buy royalty-free images from leading stock libraries. With Adobe Stock Photos, you won’t have to interrupt your design process to find quality images. Instead, from inside your favorite applications, you can use the powerful search capabilities of Adobe Stock Photos to find and download images.

From Bridge, the Favorites pane gives you quick access to these stock images. With your computer connected to the Internet, simply click the Adobe Stock Photos icon to start browsing thousands of available images. Because of the tight integration between Stock Photos and Adobe applications, you can download images from Adobe Stock Photos directly into many Adobe applications.

In the design process, you need the flexibility to try different images before deciding which one you want. Adobe Stock Photos gives you the option to download low-resolution, complimentary (comp) versions of images you’re considering. You can work with the comps until you make your final decision, at which point you can purchase and download a high-resolution image.

For maximum convenience, you can open an account with Adobe. The benefit of opening an account is that you enter your personal information only once, greatly simplifying the checkout process. You can also look back at previous purchases, and even download photos again after you purchase them.

See also

“About comp images” on page 59

“Benefits of Stock Photos accounts” on page 61

“Buying stock photos” on page 59

Searching for images in Adobe Stock Photos

ThereareafewwaystosearchforimagesinStockPhotos.Ifyouneedhelpgettingaprojectstarted,abroadsearch may yield a fund of possibilities and suggest areas to explore. If you have a clear idea of what you need, then you can use Advanced Search to narrow the field.

Related keywords also help you find photos. After you find photos, you can start a new search by selecting one or more related keywords. Each image is associated with keywords that help you find similar images. The more keywords you select, the narrower the search results.

Photos matching the search criteria appear as thumbnails in the main Bridge window. You can resize the thumbnail by dragging the Thumbnail slider at the bottom of the screen. When you click an image in search results, a lowresolution comp image appearsin thePreview pane (it may take several seconds for the imageto appear in the pane). To enlarge the comp, simply resize the Preview pane. You can view metadata information about the image in the Metadata pane under Adobe Stock Photos Metadata.

YourprevioussearchesareautomaticallysavedinPreviousPhotosintheFavoritespane.ClickPreviousSearchesto display the list. To see the search results, double-click a search. To delete a search, select it and press the Delete key (Windows), right-click the search and then choose Send To Recycle Bin (Windows), or Control-click the search and choose Move To Trash (Mac OS).

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Allthumbnailsfromrecentsearchesaresavedonyourcomputer.Havingthethumbnailsavailableofflineishelpful ifyouwanttobrowsethroughtheimageswhenyourcomputerisn’tconnectedtotheInternet.However,thethumbnails do take up some space on your hard drive. At some point, if you want to delete these thumbnails, delete the searches (as described above), or remove them manually from the default file location: My Documents/AdobeStockPhotos/Previous Searches (Windows), or Documents/AdobeStockPhotos/Previous Searches (Mac OS).

See also

“To adjust the Bridge window” on page 42

“To view file and folder thumbnails in Bridge” on page 45

To search for stock photos

1 In Bridge, click Adobe Stock Photos in the Favorites pane.

2 Inthetextboxatthetopofthescreen,typethewordorphrasethatdescribesthesubjectofthephotosyouwant

to search for.

3 Click the Search button or press Enter.

Images matching the search criteria are displayed in batches. (There is a preference for changing the number of images displayed in a batch.) To view more images, click More Results.

See also

“Search tips for stock photos” on page 58

“To view image price and keywords” on page 58

To use Advanced Search

Advanced Search is a powerful tool that helps you find exactly the right photo. You can combine several search criteria to narrow your results.

1 In Bridge, click Adobe Stock Photos in the Favorites pane.

2 Click the Advanced Search button .

3 Search using any combination of the following options:

• Type a descriptive keyword or keywords in the text box to find related images. Alternatively, type an image ID, if

you know the ID of the photo you want to use.

• To restrict searches to a specific media type, choose one or more options under Media Types.

• To search by the orientation of the photo, select the acceptable shapes under Orientation.

• Select the name of one or more providers to limit the search.

4 Click the Search button to display images matching the search criteria.

See also

“Search tips for stock photos” on page 58

To search with related keywords

1 In Bridge, click Adobe Stock Photos from the Favorites pane.

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2 Inthetextboxatthetopofthescreen,typethewordorphrasethatdescribesthesubjectofthephotosyouwant

to search for.

3 In the search results, click a photo to select it.

4 Do one of the following:

• Click the Get Price & Keywords button.

• Right-click the image (Windows) and choose Get Price & Keywords from the menu.

5 When the Price & Keywords dialog box appears, select keywords under Keywords For This Image. The more

keywords you select, the narrower the search.

6 When you finish selecting keywords, click the Search Again button to begin a new search using the keywords.

To view image price and keywords

You can view size and price information, as well as related keywords, in the Image Detail dialog box.

1 In the search results window, click an image to select it.

2 Do one of the following:

• Click the Get Price & Keywords button.

• Right-click the image (Windows) and choose Get Price & Keywords from the menu.

3 To close the dialog box, click the Close button.

Note: ThecurrencydisplayedinthePrice&Keywordsdialogboxmaynotbethenativecurrencyofyourbillingcountry; it is the supported currency for purchases made from your country. When you purchase photos from Adobe Stock Photos, your credit card will be billed in the supported currency.

Search tips for stock photos

Here are some helpful pointers for refining your searches:

Misspelled words Double-check your search entries to make sure they’re spelled correctly.

Trademarked names Brand names may not return full search results. Instead, search for the item by its general

name.

Exact phrase searches To view images that exactly match a phrase, type the whole phrase in the Search text box. You

can enter Boolean operators such AND, OR, or NOT to narrow your search.

Search by subject To search for a specific subject, use nouns that describe the main subject of a photo, such as

“bicycle” or “house,” as well as adjectives that modify the nouns, such as “vintage” or “red.” To narrow the search further, use verbs that describe an action in the photo.

Search by concept Try searching with concepts, or perceptions, such as “romance,” “vitality,” “frustration,” or

“excitement,” to find an inspiring image.

Search by style To find photos that reflect a specific photographic or artistic technique, try searching onterms such

as “profile”, “studio shot,” or “clipping path.”

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Comp images

About comp images

Comp images are free, nonwatermarked, low-resolution versions of stock photos that you can download. You can use compsto capture a feeling, idea, or concept before choosing the final image for aproject. Comps are not licensed for production, but you can use them in mock-ups or other preliminary work. Because comps are low-resolution images, they’re not suitable for printing or publishing. After an evaluation period, you can purchase a highresolution version of the image to continue working with the photo.

Metadata is bundled with comp images. This metadata is used in Adobe applications to recognize images as stock photos, even if you rename them. You canpurchase high-resolution versions of the images later, even after you move a comp to a project folder or create other versions of the image.

You can view your downloaded comps by clicking Downloaded Comps in the Favorites pane, or you can navigate to the default folder where comps are saved: My Documents/AdobeStockPhotos (Windows) or Documents/AdobeStockPhotos (Mac OS). You can move downloaded comps to any folder you want. To delete a comp in the Stock Photos window, right-click it and then choose Send To Recycle Bin (Windows) or Control-click it and choose Move To Trash (Mac OS).

For more information on using comps, see the terms of service (TOS), which describe when and for how long you can use a comp. A Terms Of Service link is available on the main Adobe Stock Photos screen.

To download comps from Adobe Stock Photos

1 In the search results, click a photo to select it.

2 Do one of the following:

• Click the Download Comp button.

• Right-click the photo (Windows) and select Download Comp from the menu.

• Click Get Prices & Keywords and select Free Comp Image in the dialog box.Click the icon to download the comp.

To view saved comps in Stock Photos

To help you keep track of downloaded comps, you can view them in Bridge. If you decide to purchase a comp, put the comp in your shopping cart.

1 In the Favorites pane, click Adobe Stock Photos.

2 Click Downloaded Comps to see the comps.

Buying stock photos

It’s simple to buy images through Adobe Stock Photos. When you find the photos you want to buy, put them in your shopping cart. The photos remain in your cart until you’re ready to complete your purchase. When you finish browsing, you can check out and have your images automatically downloaded to your computer.

Having an account with Adobe speeds the checkout process. Because your contact and billing information is saved, you can complete your purchase with just a few clicks.

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Adobe Stock Photos maintains a secure site, and you can rest assured that your personal information is kept in strict confidence. Any information you enter is used only for Adobe Stock Photos purposes.

To view your photos, click Purchased Images in the Favorites pane, or navigate to the default Stock Photos folder: My Documents/AdobeStockPhotos (Windows) or Documents/AdobeStockPhotos (Mac OS).

See also

“To buy photos” on page 60

To place photos in the shopping cart

As you find photos you want to purchase, add them to the shopping cart until you’re ready to check out.

1 In the search results window, right-click (Windows) or Control-click (Mac OS) a photo, and then choose Add To

Cart from the context menu. You see a dialog box confirming that the photo is your shopping cart.

2 Click OK to continue, or click View Shopping Cart to see the contents of your cart.

If you want to disable this dialog box, select Don’t Show Again.

To buy photos

1 To access your shopping cart, click the Shopping Cart icon.

2 Choosearesolutionforthephotosyouwanttobuy.(Youcanremoveanitemfromtheshoppingcartatanytime

by clicking the Delete icon .)

3 Click Check Out.

4 Do one of the following:

• If you have an Adobe account, enter your ID and password.

• If you want to open an Adobe account, click Set Up An Account. You are prompted to enter your billing and

account information.

• Ifyouwanttobuytheimageswithoutanaccount,clickContinueAsGuest.Youarepromptedtoenteryourbilling

information. Click Continue.

5 Do one of the following:

• If you have an Adobe account, confirm your billing information and click Continue.

• If you don’t have an Adobe account, enter your billing information and click Continue.

6 In theOrder Summary page, confirm your choices. To delete a photofrom the shopping cart, click the Delete icon.

7 If you have a promotion code, enter it in the Promotion Code text box and click Apply. You see any changes made

to your order as a result of applying the promotion code.

8 Click the check box to accept the terms of the Adobe Stock Photos License Agreement (click the blue text to read

the agreement).

9 Finally, click the Purchase Now button to complete the checkout process. Your purchase is processed, then you’re

prompted to download your photos.

10 Click Start Download. After the photos are saved, click View Purchased Imagesif you want to start working with

them right away.

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11 To view the receipt for your purchase, in the Thank You page click View Receipt. You can also monitor the

progress of the download by clicking Open Download Status. When you finish, click Find More Images if you want to find new photos, or click Go To Your Account.

If you have been working with a comp version of the image you purchased, you need to replace the comp with the high-resolution image in your art.

Note: Todeletethelistofhigh-resolutionimageswaitingfordownloadfromtheDownloadStatusscreen,chooseEdit> Preferences (Windows) or Bridge > Preferences (Mac OS). Select Adobe Stock Photos, and then click the Clear Now button.

See also

“To create a Stock Photos account” on page 62

“To set Adobe Stock Photos preferences” on page 64

To view order details

A benefit of having an Adobe account is that you can go back and view your previous orders.

1 In Adobe Stock Photos, click the Your Account button .

2 In the Your Account page, click View Order History.

3 The Your Order History page shows all of your previous orders. To view details about a particular order, click the

order number (highlighted in blue).

4 IntheOrderDetailpage,youcanseethebillinginformation,aswellasadescriptionofthephotosyoupurchased.

Click Return To Your Account if you’re done, or click Return To Order History if you want to review other orders.

You can also redownload the photos you purchased.

Stock Photos Accounts

Benefits of Stock Photos accounts

Creatingan Adobe account makes purchasing photos quick and easy. When you log in with your e-mail addressand password, you can work with your account in several ways:

Manage your profile After you complete the registration process, modify your account information anytime by

clicking the Your Account link in the navigation bar.

See your order history Track orders made through Adobe Creative Suite Stock Photos to check the specific items

ordered, the total cost of the purchase, or the order date.

Download previously purchased items again Access your order history and click Re-download to replace a lost or

corrupted file for up to one year from the original purchase date.

Shop with ease Purchase photos without providing profile information. Adobe Stock Photos automatically enters

your name and address when you make any purchases. All your personal information is securely stored.

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To create a Stock Photos account

1 In Adobe Stock Photos, do one of the following:

• Click the Your Account button , and then click the Continue button under Set Up An Account.

• If you have photos in the shopping cart, click the Shopping Cart icon, and then click Checkout. Click Set Up An

Account.

2 If you haven’t chosen your billing country, you see adialog box witha list of countries. Choose the country of your

billing address and click Continue.

3 In the text boxes, type your e-mail address and choose a password (at least six characters long and containing a

mix of letters and numbers).

4 Enter your billing address, and then type your payment information. The billing address must exactly match the

address where your credit card statements are mailed.

5 When you finish, click Continue.

After you create your account, Adobe Stock Photos sends a confirmation e-mail to the address you entered.

To log into your Stock Photos Account

1 In Adobe Stock Photos, click the Your Account button .

2 When prompted, type your e-mail address and password, and then click Continue. If your login is successful, the

Your Account page appears.

If you’re having trouble logginginto youraccount, makesure thatyou have spelled your e-mailaddress andpassword correctly. Also make sure that you haven’t pressed the Caps Lock or Number Lock keys.

To edit your Stock Photos account profile

Your account profile includes your name and password settings.

1 Click the Your Account button .

2 Log into your account.

3 In the Your Account page, click Edit Your Profile. Do any of the following:

• To change your password, type a new word in the Password text box. Passwords can contain only letters and

numbers and must be at least six characters long.

• To sign up to get e-mail from Adobe Stock Photos about promotions or other special information, select the check

box.

4 To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

To change Stock Photos account address information

You can change your default billing address or add other addresses. Make sure that any new addresses match the address on your credit card billing statements exactly to avoid any problems.

1 Click the Your Account button .

2 Log into your account.

3 In the Your Account page, click Edit Your Address.

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4 Do any of the following:

• To change the nickname associated with the default address, type a new name in the Billing Address Nickname

text box.

• Type any changes to the default address in the text boxes.

• To add a new address to your account, click Add New Address, and then enter the information in the text boxes.

• To edit a non-default address, click Edit under the address, and make any changes.

• To make an address the default, click Set Default under the address.

• To delete an address, click Delete under the address.

5 To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

To change Stock Photos account payment information

You can change your saved credit card information or add additional credit cards. Enter your credit card number without spaces or dashes. You can give each credit card a nickname to keep track of which card you’re using.

1 Click the Your Account button .

2 Log into your account.

3 In the Your Account page, click Edit Your Payment Information.

4 Do any of the following:

• To change the nickname of the default credit card, type a new name in the Payment Nickname text box.

• To change the default credit card number, type the new number in the Credit Card Number text box, and then

choose the expiration date for the new card from the month and year menus.

• To add a new card to your account, click Add New Payment Method, and then type a nickname and the card

number. Enter the expiration date.

• To delete a payment method, click Delete under the payment nickname.

5 To confirm your changes, click Save. To go back to the main Your Account page without saving changes, click

Return To Your Account.

To download previously purchased images from Stock Photos

To download previously purchased images, you need to have a Stock Photos Account. You can download images onto a different computer than the one you used to purchase the photos originally (see the license agreement for information about restrictions).

1 Click the Your Account button .

2 In the Your Account page, click View Order History.

3 In the Your Order History page, click the order number (highlighted in blue) of the photo you want to download

again.

4 In the Order Detail page, click the arrow under Download. The photo is downloaded. By default, purchased

images are located at My Documents/AdobeStockPhotos/Purchased Images (Windows) or Documents/AdobeStockPhotos/Purchased Images (Mac OS).

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To set Adobe Stock Photos preferences

1 In Adobe Bridge, choose Edit > Preferences (Windows) or Bridge > Preferences (Mac OS).

2 Select Adobe Stock Photos from the list on the left.

3 Set any of the following preferences, and then click OK:

Thumbnails Per Search Group To set how many thumbnail images are displayed in a search group, choose an option

from the Thumbnails Per Search Group menu.

Search language To search using a different language, select the language from the Search Language menu. Note

that you get the best results from most providers if you search in English. This setting doesn’t affect the interface display language.

Destination folder for downloads To select a new default folder in which to store photos, downloaded comps, and

purchased photos, click Change Location. Click Reset to restore the default location.

Billing Country Or Region To change your default billing country, choose the name of the country from the Billing

Country menu. The currency displayed next to the Billing Country menu may not be the native currency of that country (not all currencies are supported). Instead, it’s the currency Adobe allows for that country. Your credit card is billed in the supported currency.

Alert messages To enable or disable the messages that appear when you download a comp or add a photo to your

shoppingcart,selectordeselectDisplayMessageAfterDownloadingComporDisplayMessageAfterAddingImage To Shopping Cart.

Automatic downloading to default folder To save your photos automatically to your default folder, select Auto-

Download Images After Purchasing Them. Deselect this option if you want to choose a location in which to save the photos (for example, in a Version Cue project or other project-specific folder on your computer).

Downloading after lost connection To resume downloading automatically after a connection is lost, select Resume

Interrupted Downloads When Bridge Starts.

Chapter 5: Capturing, digitizing, and importing

Collecting assets

About capturing, digitizing, and importing

To bring media files (assets) into an Adobe Premiere Pro project, you can capture, digitize, or import them, depending on the type of source material:

Capture You capture digital video files from tape. That is, you transfer them from the source videotape to the hard

drive. All digital camcorders and decks record video in digital formats, but it must be captured (transferred to disk) before Adobe Premiere Pro can use it in a project. Adobe Premiere Pro’s capture function, in conjunction with a digital port or capture card (for example, IEEE 1394 or SDI), can capture digital video from tape and save it to disk as files that you can then add to your project.

Digitize You digitize analog video. Analog video is recorded by analog camcorders and decks. The data must be

digitized (converted to digital form) before a computer can store and process it. Adobe Premiere Pro’s capture function, in conjunction with a digitizer card—or a device that can convert analog video to digital—can convert analog video to digital files readable by Adobe Premiere Pro.

Import Use the Import command to bring files—for example, still images or audio you’ve downloaded—that are

already on your hard drive into your Adobe Premiere Pro project. Adobe Premiere Pro lets you import numerous types of digital files.

Capture panel

Use the Capture panel (choose File > Capture) to capture digital or analog video and audio. This panel includes a preview, which displays video being captured, controls for recording with or without device control, a Settings pane for editing your capture settings, and a Logging pane for logging clips for batch capturing. For convenience, some options available in the Capture panel are also available in the Capture panel menu.

You can control certain source devices, such as camcorders and decks, directly from the Capture panel, provided your computer has an Adobe Premiere Pro-compatible IEEE1394, RS-232, RS-422, LANC, or Control-M controller. If your source device lacks any of these interfaces, you still use the Capture panel, but you must cue, start, and stop your source device using its controls.

Note: WhennotcapturinginAdobePremierePro,closetheCapturepanel.TheCapturepanelassumesprimaryfocus, so leaving it open while editing or previewing video disables output to the source device and may decrease performance.

A C B D

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Capture panel A. Status area B. Preview C. Tab s D. Panel menu E. Device controls

To set the capture format

With a project open, choose Project > Project Settings > Capture.

2 From the Capture Format menu, choose the settings that match your source material.

To set capture preferences

Choose Edit > Preferences > Capture.

2 Specify whether you want to cancel capture on dropped frames, report dropped frames, or generate a batch log

file.

3 Select whether to use device control timecode. If a device controller is in use (for example, for RS-422/232 or

LANC-controlled devices), the last selection enables Adobe Premiere Pro to record the timecode supplied by the controller instead of attempting to record any timecode that might be written to the source tape.

File size limits

Adobe Premiere Pro does not limit the size of files. However, your capture card, operating system, or hard disk may set such a limit. Check your capture card and hard disk documentation for information on support of large files.

The format of your hard disk greatly affects its ability to handle large files. FAT32 formatting limits each file to 4 GB, or about 18 minutes of DV footage. NTFS formatting doesn’t limit file size, although files are still subject to limitations that may be imposed by other components of your video-editing system. This is why it is best to use NTFS-formatted disks as the scratch disks where you capture video and for the target drives where you export video files.

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Supported file formats for import

Adobe Premiere Pro can import a number of video and audio formats. It also supports 10-bit color depth, necessary for editing standard and high-definition footage.

File format support is provided by plug-in software modules. Most of these software modules are installed automatically with Adobe Premiere Pro.

Supported video and animation file formats

You can import any of the following types of video and animation files:

• ASF

• Type 2 AVI

• MPEG, MPE, MPG, M2V

• QuickTime (MOV; requires QuickTime player)

• DLX

• Windows Media File (WMV)

• Animated GIF

• Filmstrip (FLM)

Note: Type 1 AVI clips must be rendered before they can be previewed from a DV device. To render a Type 1 AVI clip, add it to a sequence in a DV project, and build a preview file of that section of the Timeline panel.

Supported audio file formats

You can import any of the following types of audio files:

• Audio Interchange File Format (AIFF)

• AV I

• MP3,

• MPEG, MPG

• QuickTime (MOV; requires QuickTime player)

• WAVE (WAV)

• WMA

Supported still-image file formats

You can import any of the following types of still-image files:

• Adobe Illustrator (AI)

• Adobe Photoshop (PSD)

• Bitmap (BMP, DIB, RLE)

• EPS

• GIF

• ICO

• JPEG, JPE, JPG, JFIF

• PCX

• PICT, PIC, PCT

• Portable Network Graphics (PNG)

• PTL, PRTL (Adobe Title Designer)

• Targa (TGA, ICB, VDA, VST)

• TIFF

• PSQ

Note: You can import layered Illustrator and Photoshop files as sequences.

Supported video project file formats

You can import any of the following types of video project files:

• Adobe Premiere 6.0 or 6.5 (PPJ)

• Adobe Premiere Pro (PRPROJ)

• Advanced Authoring Format (AAF)

• After Effects Project (AEP)

• EDL

• PLB

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See also

“File formats supported for export” on page 381

Device control

About device control

You can use Adobe Premiere Pro’s device control to simplify and automate video capture and to export sequences to tape. Device control lets you precisely control devices, such asdecks and camcorders, with capture andbatch capture controls. With device control, you can use the Capture panel to log each clip and then use the Batch Capture command to record logged clips automatically.

Adobe Premiere Procontrols devices throughits built-insupport ofIEEE 1394 and its support of compatible RS-232, RS-422, LANC, and Control-M controllers. Regardless of type, if your device isn’t automatically recognized, you need to set it up. Before setting up device control, make sure that you have a tape deck or camcorder that supports external device control and a cable that connects the device to your controller, computer, or both.

To set up a project for device control

Some device control settings are available when you choose Edit > Preferences > Device Control, and others are in theDeviceControlsectionatthebottomoftheSettingspaneoftheCapturepanel.Devicecontrolsettingsapplyto the entire project.

1 Choose Edit > Preferences > Capture.

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2 SelectoneormoreoftheCaptureoptions.Ifyouareusingadevicecontrollerthatgeneratesitsowntimecode(for

example,a LANC controllerfor aHi8 camcorder),select Use Device Control Timecode. Thisreplaces theunreadable timecode recorded on the tape with the controller’s timecode. Click OK.

3 Ifyouwantcapturedclipstobesavedtoaspecificbininaproject,makesurethattheprojectisopenandthatthe

bin exists in the Project panel.

4 Choose File > Capture.

5 In the Settings pane, click Edit to verify that the capture settings are appropriate for your device.

6 Click Save to save a group of project settings. Click OK when you’ve selected the correct settings for your device.

7 In the Capture Locations section of the Settings pane, make sure that the drives you designate for captured video

and audio have sufficient free space. If you want to change the locations, choose Custom from the Video or Audio menu, click the corresponding Browse button, set the location, and click OK.

8 IntheDeviceControlsection,ifdevicecontrolhasnotbeensetup,chooseadevicefromtheDevicesmenuand

click Options to set it up. Options vary depending on the device; see the documentation for your device driver.

9 Test the device control buttons in the Capture panel to verify that they work and that you see video in the preview.

10 Click Logging. In the Setup area, make sure that the Capture menu setting is correct, and select a bin from the

list if needed. If no bin is selected or the bin list is empty, captured clips appear in the Project panel.

11 Enter information into the Clip Data area as needed.

Note: To avoid confusion, make sure that the tape name is unique. Some types of device control software may ask you to specify the Tape Name setting each time you insert a new tape. The other Logging Data options aren’t required.

To set up a device for device control

Adobe Premiere Pro supports the control of devices such as camcorders and VTRs. Itcontrols DV and HDV devices by way of IEEE 1394 connections and serially controlled devices by way of RS-232, RS-422, LANC, or Control-M controllers installed on a given computer.

1 Open the Device Control Preferences dialog box by doing one of the following:

• Choose Edit > Preferences > Device Control.

• In the Capture panel, click Settings.

2 Select the type of device you want to control from the Devices pop-up menu.

3 Click Options, and do one of the following:

• If you are connecting a DV or SDI device, select the device brand and device type. If your particular device is not

listed, click Go Online For Device Info.

• If you are connecting a serial device, specify Protocol, Port, Time Source, and Time Base settings.

4 In the Device Control Options dialog box, check the status display:

Offline Adobe Premiere Pro does not see your device, and you need to check all your connections and settings.

Detected Adobe Premiere Pro sees your device but cannot control the tape (possibly because there is no tape

inserted).

Online Adobe Premiere Pro sees your device and can control the tape. Click OK.

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5 In the Device Control section of the Settings pane, specify the following options as needed:

Preroll Time Indicates how much before the In point Adobe Premiere Pro starts playing the tape before capture. The

User Guide

appropriate value varies depending on the device you are using.

Timecode Offset Indicates the number of frames to adjust the timecode embedded in the captured video so that it

corresponds with the timecode number of the same frame on the source tape.

To calibrate an RS-422 or RS-232 device

Select File > Export > Export To Tape.

2 Click Options.

3 Enter the number of offset frames, as appropriate for your device, to the Delay Movie Start, Manual Edit Timing,

and Preroll boxes.

To control an RS-422 or RS-232 device

Select Edit > Preferences > Device Control.

2 From the Devices menu, select Serial Device Control.

3 Click Options.

4 In the VTR And Port Control section, select a protocol and port for your device.

5 In the Time Control section, select a time source and timebase for your device.

Device controls in the Capture panel

You can use the controls in the Capture panel to operate the device as you log clips. The jog control lets you navigate quickly to nearby frames, and the shuttle control lets you change the speed of the tape as you play it forward or backward. The Record button lets you begin a manual capture.

If you press the Rewind button when the tape is stopped, the device rewinds the tape at full speed. If you rewind when the tape is playing or paused, the device rewinds while displaying video in the preview.

If you press the Fast Forward button when the tape is stopped, the devicemoves thetape forward at full speed. Ifyoufastforwardwhenthetapeisplayingorpaused,thedevicemovesthetapeforwardwhiledisplayingvideoin the preview.

If you press the Previous Scene button, the tape shuttles to the previous start point and pauses. If you press the Next Scene button, the tape shuttles to the start point of the next scene and pauses.

You can also press the J, K, and L keys to control your device. J rewinds the tape; L fast forwards it, and K pauses it. The speed of forward or reverse increases each time you press J or L. To rewind or forward one frame at a time, hold down K and press J or L once. To slowly rewind or forward, hold down K+J or K+L.

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. You can also shuttle to a tape location by typing its timecode into the Capture Panel’s In Point or Out Point timecode display and pressing Enter.

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Capturing and digitizing

System requirements for capturing

To capture digital video footage, your editing system needs the following components:

• For DV or HDV footage, either an OHCI-compliant IEEE 1394 (FireWire, iLink) port or capture card, or a

non-OHCI-compliant IEEE 1394 capture card with presets, drivers, and plug-ins written specifically for Adobe Premiere Pro.

• For HD footage, an Adobe Premiere Pro-compliant HD capture card with an SDI input. Adobe Premiere Pro

natively supports the AJA HD SDI card.

• A codec (compressor/decompressor) for the type of data you need to capture. Adobe Premiere Pro has its own

codecs for importing DV and HDV footage. Plug-in software codecs are available for other types. Hardware codecs are built into some capture cards.

• A hard disk capable of sustaining the data rate of the type of digital video you need to capture.

• Sufficient disk space for the captured footage. The length of a captured clip may be limited by your operating

system.

• 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.

Note: Some DV and HDV camcorders require a connection to their power adapters to activate their IEEE 1394 ports. Other camcorders may go into sleep mode or demo mode if left in the camera mode without tape activity for a period of time. To avoid these problems, connect your camcorder to itspoweradapterwhensettingitupforcapturingordubbing video. If the camcorder goes into demo mode with the power adapter connected, turn off this feature using the camcorder’s menu system.

To prepare for digital video capture

1 After connecting the digital device to your computer using an IEEE 1394 or SDI connection, turn the device on,

and do one of the following:

• If it’s a camera, set it to the playback mode, which may be labeled VTR or VCR.

• If it’s a deck, make sure that its output is set properly.

Note: Don’t set a camera to any of the recording modes, which may be labeled Camera or Movie.

2 Start Adobe Premiere Pro. When the Welcome screen appears, do one of the following:

• Click New Project, select the desired preset from the Load Preset panel, and click OK.

• Select an existing project. The project must use a preset that matches the video and audio settings of the footage

you’re going to capture.

3 Choose Edit > Preferences > Scratch Disks, and specify the locations for Captured Video and Captured Audio.

Note: Adobe Premiere Pro supports high bit-depth (greater than 8-bit) video necessary for editing standard and high definition footage.

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To capture without device control

If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture video manually. You have to operate both the playback device controls and the Capture panel controls in Adobe Premiere Pro.

1 Make sure that the deck or camcorder is properly connected to your computer.

2 Choose File > Capture.

3 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu.

4 Use the controls on the deck or camcorder to move the videotape to a point several seconds before the frame

where you want to begin capturing.

5 Press the Play button on the deck or camcorder, and then click the red Record button in the Capture panel.

6 Record a few seconds beyond the end of the footage you need, to provide room for editing. Press the Esc key to

stop recording.

WhentheSaveCapturedFiledialogboxappears,enterloggingdataandclickOK.ThenewfileislistedintheProject panel and is saved to the disk location specified in the Settings pane of the Capture panel.

Capturing with device control

When a device and the project are set up properly, you can begin capturing clips using device control. You can captureanentiretapeoryoucanmarkInandOutpointsforeachclip,andthencapturetheclip.YoucanlogInand Out points for any number of clips and have Adobe Premiere Pro capture as many as you like in a batch.

To capture an entire tape

In the Capture panel, make sure that your device is online, as indicated above the preview.

2 Insert a tape into your device. Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two

tapes the same name.

Including a unique number in the name can help you avoid using the same name twice.

3 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu.

4 Rewind the tape to its beginning.

5 If you want to create a separate file for each new scene on the tape, select Scene Detect in the Capture area.

6 If you want to capture some frames extending beyond the In and Out points of each clip, enter that number of

frames in the Handles box in the Capture area.

7 Click the Tape button.

To select and capture a clip

In the Capture panel, make sure that your device is online, as indicated above the preview.

2 Insert a tape into your device. Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two

tapes the same name.

3 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu.

4 UsethecontrolsintheCapturepaneltomovetothefirstframeyouwanttocapture,andclicktheSetInbutton.

Then move to the last frame you want to capture, and click the Set Out button.

5 If you want to capture some frames extending beyond the In and Out points of each clip, enter the number of

frames for these handles in the Handles setting of the Capture section.

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6 Click the In/Out button in the Capture area of the Logging pane to capture the clip you’ve identified.

See also

“To set up a project for device control” on page 68

“To set up a device for device control” on page 69

To use automatic scene detection

Instead of manually logging In and Outpoints, you can use the Scene Detect feature. Scene Detect analyzesthe video for scene breaks as indicated by the tape's Time/Date stamp, such as those caused when you press the camera’s pause button while recording. When Scene Detect is on and you perform a capture, Adobe Premiere Pro automatically captures a separate file at each scene break it detects. Scene Detect works whether you are capturing an entire tape or just asection between specific In and Out points. If you turn on Scene Detect and capture using In and Out points, Scene Detect may break up clips between the defined In and Out points if a scene break is detected.

SceneDetectlogsscenesforbatchcapturingwithoutalteringthetape’sprogress.Italsologsscenesthatoccuracross timecode breaks.

❖ In the Capture panel, do either of the following:

• Click the Scene Detect button below the image.

• Select Scene Detect in the Capture area of the Logging pane.

Common capture issues

Ifyourunintoproblemswhilecapturingdigitalfootage,refertoAdobePremiereProHelporthedocumentationfor your camera, deck, or capture card. You can also check the Adobe website for technical support. The following are common issues that may arise when you capture digital video:

• If your device (camera or deck) goes into sleep mode, close and then reopen the Capture panel; or close the

Capture panel, turn the device off and back on, and then reopen the Capture panel. You can disable sleep mode on many cameras by connecting them to AC power and ejecting the tape.

• If video looks grainy in the Capture panel or Monitor panel, Adobe Premiere Pro may have decreased display

qualitytopreservecapturequality.Videoiscapturedandstoredatthequalityyoudetermineandalwaysplaysat that quality on an NTSC or PAL monitor. On slower systems, Adobe Premiere Pro may lower the quality of the capture preview in order to ensure that sufficient CPU resources are available for full-quality capture.

• If the video image does not appear in the Capture panel, verify your device control and capture settings. Then,

leaving the device on, restart Adobe Premiere Pro.

• If captured audio and video are not in sync, make sure that sections of tape weren’t skipped (left unrecorded)

between shots. Blank tape areas lack timecode, which may cause interruptions in the camera time mode. When you capture the blank area, the camera doesn’t transmit valid frames, but time continues to be marked.

• If no audio is recording, try playing a source through the computer’s sound input and speaker system without

recording. If you can’t hear it, the audio source may not be connected properly or audio parameters may not be set properly. Check hardware connections, Sounds And Audio Devices in the Windows Control Panel, and mixer settings, and refer to the documentation for your sound card. In Adobe Premiere Pro, select Edit > Preferences, and check the settings for Audio, Audio Hardware, and Audio Output Mapping.

To determine if your device is online

Select File > Capture.

2 In the Device Control area of the Settings pane, click Options.

3 In the Options dialog box, click Check Status.

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User Guide

Digitizing analog video

In order to editvideo shot inan analog format, you must first digitizeit. You candigitize itby routing thevideo signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer. Alternatively, you can dub the analog footage to a digital format, and then capture the video from a digital device through a capture card as any other digital source. Depending on your equipment, you may be able to digitize analog video from any of several signal types, including component video, composite video, and S-video. Some digitizers provide device control. They connect to your source device through RS-232, RS-422, LANC, or Control-M jacks, enabling youtocontrolthedevicethroughAdobePremierePro’sCapturepanelandtoperformbatchcapturing.Refertothe instructions included with your camcorder and digitizer/capture card.

Analog video connections A. S-video connection B. Composite video and left-right audio connections

About capture card settings

Some of the capture settings you see in Adobe Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because ofthe differences among brands of cards,specific options and supported formats can vary. This complex relationship between video-capture cards and Adobe Premiere Pro can make it difficult to identify which part of the system is responsible for a particular option or problem. Adobe, as well as most capture card manufacturers, provides troubleshooting documents online that can help you determine whether an option or problem is related to the video-capture card and its software or to Adobe Premiere Pro. Check the Adobe Premiere Pro website and the capture card manufacturer’s website for troubleshooting resources.

Most of the supported capture cards install a settings file (preset) that you can select in the Adobe Premiere Pro New Project dialog box, in the Load Preset pane. This preset automatically sets all capture settings for optimal support of your capture card. For best results, use your capture card’s preset, if provided, and don’t change the capture settings in the Custom Settings pane.

To digitize analog video

Quit Adobe Premiere Pro.

2 Connect your analog device’s video and audio outputs to your digital device’s (digitizer, digital camcorder or

digital deck) analog inputs.

3 If the digital device is an external digitizer, deck, or camcorder, connect its digital output (IEEE 1394 or SDI) to

the computer’s digital port of the same type.

4 If the digital device is a digitizer with device controls, connect its device control port (RS-232, RS-422, LANC, or

Control-M) with the analog device’s port.

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5 Turn on both devices.

6 If the digital device is a camcorder, put it into VTR or VCR (not Camera) mode.

7 Set the input selection control on the digital device to the correct analog input.

8 Start Adobe Premiere Pro.

9 When the Welcome screen appears, do one of the following:

• Click New Project, select the capture card’s preset (if available) from the Load Preset pane, and click OK.

• Select an existing project that was set up with the capture card’s preset.

10 Select File > Capture.

11 In the Capture panel, carefully check the settings on the Settings pane. If you need to change them, click Edit.

(The settings in this dialog box are provided by the card manufacturer’s plug-in software, not by Adobe Premiere Pro, and vary according to the analog capture card’s brand and model. See the documentation for the software driver provided by the manufacturer of the capture card.)

12 Do one of the following:

• If the digital device offers no device control, cue up your source using the analog device’s own controls. Press Play

on the analog device and click the Record button in the Capture panel.

• If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would

with a digital source.

To help determine the effects of your compression settings on the data rate of the captured video, use the Adobe

Premiere Pro Data Rate graph.

Digitizing analog audio

If you want to use audio that is not yet in digital form (for example, from an analog cassette or a live microphone), you need to digitize it through an audio or audio/video digitizer/capture card.

The quality of digitized audio and the size of the audio file depend on the sample rate (the number of samples per second) and bit depth (the number of bits per sample) of the digitized audio. Also, stereo audio requires twice as much disk space as mono audio. These parameters, controlled in the Capture Settings section of the Project Settings dialog box, determine how precisely the analog audio signal is represented in digital form. Higher sample rates and bit depths reproduce sound at higher levels of quality, but with correspondingly larger file sizes. Capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for final export or playback. This provides headroom, or extra data, thathelps preserve quality when you adjust audio gain or apply audio effects such as equalization or dynamic range compression/expansion. Although the DV format can record two independent stereo audio pairs, Adobe Premiere Pro can capture only one stereo pair. It may be possible to select either stereo pair 1, stereo pair 2, or a mix of both stereo pairs, depending on the DV hardware you are using. Consult your DV equipment guide.

To set the location for captured audio

Choose Edit > Preferences > Scratch Disks.

2 For Captured Audio, select a location and click OK.

To record a voice-over

Connect the microphone to the mic-level input jack on your computer or sound card. If necessary, choose Edit >

Preferences > Audio Hardware to configure the input device.

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2 If you want topreview the Timelinepanel as you record, position the current-time indicator in the Timeline panel

a few seconds before the time when you want the voice-over to begin.

3 In the Audio Mixer, click the Record Enable button for any tracks on which you want to record audio.

Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer

4 In the Audio Mixer, click the Record button for the sequence. Adobe Premiere Pro prepares the sequence for

recording but moves the playhead only when you press the Play button.

5 Select Meter Input(s) Only in the Audio Mixer menu to meter only your sound card’s inputs.

6 Test the input levels by speaking into the microphone.

7 When you finish testing, deselect Meter Input(s) Only to meter the project’s audio tracks also.

8 Speak into the microphone again. Watch the Audio Mixer level meters to ensure that the input levels for

record-enabled tracks are high but not clipping.

9 Click the Play button in the Audio Mixer, and then start speaking your voice-over.

See also

“About audio” on page 173

To record an analog source

You can record audio from an analog source device, such as a cassette deck or turntable.

1 Connect the analog source to the appropriate input jack on your computer or sound card. If necessary, choose

Edit > Preferences > Audio Hardware to configure the input device.

2 If you want topreview the Timelinepanel as you record, position the current-time indicator in the Timeline panel

a few seconds before the time when you want the recording to begin.

3 In the Audio Mixer, click the Record Enable button for any tracks on which you want to record audio.

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4 In the Audio Mixer, click the Record button for the sequence. Adobe Premiere Pro prepares the sequence for

recording but moves the playhead only when you press the Play button.

5 Select Meter Input(s) Only in the Audio Mixer panel menu to meter only your sound card’s inputs.

6 Test the input levels by playing a selection from the analog source.

7 When you finish testing, deselect MeterInput(s) Onlyin the Audio Mixer panel menu to meter the project’s audio

tracks also.

8 Play a selection from the analog source again. Watch the Audio Mixer level meters to ensure that the input levels

for record-enabled tracks are high but not clipping.

9 Click the Play button in the Audio Mixer, and then press Play on the source device.

See also

“About audio” on page 173

Batch capturing

About batch capturing

Adobe Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device. You can define a batch by selecting a group of clips you have logged. These appear as offline (placeholder) clips in the Project panel or in a bin. You can capture any number of logged, offline clips by selecting them and choosing File > Batch Capture. When you begin capture, Adobe Premiere Pro automatically re-sorts entries by tape name and timecode In points so that they’re captured as efficiently as possible.

To save time by reducing the number of clips you log manually, consider using Scene Detect. See “To use automatic scene detection” on page 73.

When you want to batch capture a set of logged (offline) clips, select them in the Project panel and choose File > Batch Capture. If you organized offline clips into bins, you can batch capture an entire bin by selecting the bin.

Adobe Premiere Pro can capture video inthe background so that you can perform other tasks during capture.When you start either a manual capture or batch capturing in Adobe Premiere Pro, you can minimize the Adobe Premiere Pro application or switch to another application without stopping capture. After you restore the Adobe Premiere Pro window, you canclick anywhereinside it to haltcapture. However, be aware that frames may drop out if you perform a system-intensive task while capturing. Thechance of dropped frames is lower on a high-performance system, such as one with dual processors.

Note: Batch capturing is not recommended for the first and last 30 seconds of your tape because of possible timecode and seeking issues. Capture these sections manually.

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Preparing for batch capturing A. Clips selected for capture B. Capture Settings option

See also

“About device control” on page 68

To log clips for batch capturing

You can specify whichshots you want to use from source tapesby logging them asa set of offline files for later capture. If you set device-control options in the Preferences dialog box to remotely control your camera or deck, you can create offline files by using the clip-logging controls in the Capture panel, and then use the Batch Capture command to capture the logged clips automatically.

If you have a list of In and Out points, you can log them manually without a device online; simply enter each shot’s In and Out points and click the Log Clip button. You can also log frame numbers using a separate logging or spreadsheet program and then import the spreadsheet into Adobe Premiere Pro as a list of offline files.

1 In the Capture panel, make sure that your device is online, as indicated above the preview.

2 Insert a tape into your device. Adobe Premiere Pro prompts you to name the tape. Be sure not to give any two

tapes you log the same name.

3 Use the controls in the Capture panel to move to the first framein your first shot,and click the Set In button. Then

move to the last frame in the shot and click the Set Out button.

4 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu.

5 If you want to capture some frames extending beyond the In and Out points of each clip, enter the number of

frames for these handles in the Handles setting of the Capture section.

6 Click the Log Clip button in the Timecode area of the Logging pane to log the clip you identified. Name the clip

when prompted. Adobe Premiere Pro logs the clip by placing an offline file for it in the Project panel.

7 Repeat steps 2 through 6 to log each shot you want to batch capture.

Capture panel with Logging active

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To log clips interactively

1 Make sure that your deviceis connected andin VTR orVCR (not Camera)mode, and then choose File > Capture.

2 In the Logging pane, enter the settings you want to use as the defaults for Setup and Clip Data.

3 Play the tape. Click Set In or Set Out at any time, even as the tape plays. Repeat as necessary.

4 When you are satisfied with the In and Out points, click Log Clip, verify the clip data, and click OK.

You can make slight timecode adjustments by using the plus sign (+) or minus sign (–). For example, to add five

frames to the end of the Out point, select the entire Out point timecode, type +5, and press Enter.

Tips for logging clips interactively

•

Set options on the Logging pane of the Capture panel. Adobe Premiere Pro uses the current data in the Setup and Clip Data sections as defaults for subsequent logged clips. If you want to log a series of clips into the same bin with similar logging data, save work by specifying clip data before you start logging the series. When you click the Log Clip button, a dialog box appears so that you can accept or change the clip data.

• In the Clip Data section, specify a tape name. Adobe Premiere Pro asks for this name every time you begin batch

capturing

• The Clip Name in the Clip Data section progresses in numerical increments automatically. For example, if you

want to number a series of clips with clip names starting with Car Chase, enter Car Chase 01, making sure that the clip name ends with the number. Subsequent logged clips default to the next number, such as Car Chase 02.

• You can change Capture panel settings at any time. For example, if you see the action changing as the tape plays

back, you can get ready to capture the new upcoming action by selecting a different bin to log subsequent clips into or by typing a different name for Description or Scene. You don’t have to stop the tape as you change settings.

• You can operate the device and log clips using the keyboard. See the tool tips for Capture panel controls, or choose

Edit > Keyboard Customization to view or change the shortcuts.

• YoumustclickLogCliptocreateanewofflinefile.Thispausesthetapeasyouconfirmtheclipdataforthenew

offline file.

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Specifying batch-capture settings

A batch list of logged clips appears as a list of offline files in the Project panel. If you plan to capture many clips, you may want to create bins in the Project panel in advance so that you can log each set of offline clips directly into its own bin. When you batch capture, the offline files are replaced by captured clips, maintaining the bin organization you set up in advance.

Youcancaptureaudioandvideotoseparatedrives.SetthelocationsfornewfilesbychoosingEdit>Preferences> Scratch Disks. If you don’t change the defaults, all files captured or created by Adobe Premiere Pro are stored in the same folder in which it stores the project files.

By default, the settings that Adobe Premiere Pro uses to batch capture offline files are the project’s current capture settings. If an offline file has its own capture settings, Adobe Premiere Pro uses those settings when capturing it; the resulting clip maintains its capture settings so that it can easily be recaptured using the same settings. For example, if a clip’s settings specify capture at a frame size of 720 x 480 in a project with a frame size of 320 x 240, Adobe Premiere Pro captures the clip at 720 x 480 unless you change its default. You can override a clip’s capture settings by choosing the Override Capture Settings option in the Batch Capture dialog box.

To specify capture settings

You can assign capture settings to an offline file that are different from the project’s, for example, to capture the clip at a resolution higher than the project’s.

• To determine whether the offline file already has its own capture settings, look in the Capture Settings column in

the Project panel. Scroll right to see this column. If an offline file has its own capture settings, its box in this column has a check mark. If the column is hidden, choose Edit Columns from the Project panel menu; then select Capture Settings. Click OK.

• To find out or change the capture settings for an offline file, select the clip in the Project panel, and choose Clip >

Capture Settings > Set Capture Settings. The Capture Format menu lets you view the clip’s capture format or choose a new one. Typically, choose a format that matches that of the source footage.

• To remove a clip’s capture settings, select the clip in the Project panel and choose Clip > Capture Settings > Clear

Capture Settings. By default, Adobe Premiere Pro captures this clip with the project’s capture settings.

See also

“To set up a project for device control” on page 68

“To set up a device for device control” on page 69

To batch capture clips

1 Select the offline clips that you want to capture, and then choose File > Batch Capture.

2 In the Batch Capture dialog box, do any of the following:

• Choose Capture With Handles and enter the number of frames for the handles if you want to capture frames

beyond the In and Out points identified for each clip in the batch.

• Choose Override Capture Settings if you want to replace the capture settings of individual clips in the batch with

the project’s default settings.

3 Verify that the deck and source videotape are set up properly for capture, and then click OK.

4 IntheInsertTapedialogbox,inserttherequestedtapeandclickOK.Ifyouarecapturingfrommultipletapes,be

ready to insert them when prompted.

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5 If you want to stop batch capturing, click the Stop button in the Capture panel, or press the Esc key.

Troubleshooting batch capturing

You can perform trouble-free batch capturing if device control and the project’s capture settings are set up properly and if the offline files you logged are consistent and free of conflicting data. If you encounter problems with batch capturing, make sure that all clips you want to batch capture are set up with the proper settings:

• Each clip’s Status must be Offline. Verify the status in the Project panel List view. If a clip is not offline, select it in

the Project panel and choose Project > Unlink Media. If you select multiple clips and some are online, Adobe Premiere Pro captures the offline files only.

• Tape Name, Media Start, and Media End must be specified in the Edit Offline File dialog box for each offline file.

Aslongasoneselectedofflinefilecontainsthesesettings,theBatchCapturecommandisavailable,butonlyclips with all three settings are captured. If necessary, verify this in the Project panel List view or double-click each offline file to edit settings.

• Recording video, audio, or both must be supported by the selected capture device. For example, audio isn’t

captured if the capture device doesn’t capture audio. If settings exist that can’t be captured, batch capturing stops and the Capture Settings Error dialog box appears.

• Thefilenameofeachclip(asspecifiedintheCaptureSettingsdialogbox)mustnotduplicatethefilenameofan

existing clip. If necessary, double-click each offline file to verify that its name is unique. If you select an offline file with a duplicate name for batch capturing, Adobe Premiere Pro slightly alters the name of that clip when it captures it. In this way, it avoids overwriting the other file with the same name.

To manage capture errors when the Capture Settings Error dialog box appears, do one of the following:

• To fix the capture settings for any clips in the list, select one or more files in the list and click Edit Settings.

• To omit the clips with invalid capture settings and proceed with the rest of the batch capture, click Skip. Clips you

skip are removed from the list and are not captured.

• To stop batch capturing, click Cancel. No clips are captured.

To import and export batch lists

You can import a batch list as a tab-delimited text (TXT) file or a comma-separated value (CSV) text file. When imported, each entry in the text batch list appears as an offline file in the Project panel. You can also export offline files as a CSV batch list so that you can transfer a logged cliplist between projects and workstations.Tosee the format of a batch list, export it and open the file in a text editor such as Notepad or in a spreadsheet application. A batch list text file may come from sources such as Adobe Premiere 6.5, logging utilities such as Pipeline Autolog, or custom video-production software that uses a database or spreadsheet program to generate a batch list.

When you import a batch list, the order of fields in the list must be as follows: tape name, In point, Out point, clip name, and comment. When you export offline files as a batch list, Adobe Premiere Pro orders the fields as follows: tapename,Inpoint,Outpoint,clipname,lognote,description,scene,andshot/take.Exportedfielddataisexported from the corresponding columns in the List view of the Project panel.

• Toimportabatch-listtimecodelog,openaprojectandchooseProject>ImportBatchList.Locateandselectthe

file, and click Open.

• Toexportabatch-listtimecodelog,selectthefilesthatyouwanttolog.ThenchooseProject>ExportBatchList.

Specify a file name and location, and click Save.

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User Guide

Offline files

An offline file is a placeholder for a source file that isn’t currently available on disk. Offline files contain information about the missing source files they represent, and they give you flexibility when actual files are not available. If an offline file appears in the Timeline panel, “Media Offline” appears in the Program Monitor and in the track.

When you use the Capture panel to log clips from a tape, Adobe Premiere Pro automatically creates offline files containing the exact information required to capture the clips later. You can also create offline files manually. Use offline files in situations such as the following:

• Clips are logged but not yet captured. Because offline files behave like captured clips, you can organize the logged

offline files in the Project panel andeven lay out sequences with them in the Timeline panel before the offline clips are actually captured. When the offline files are captured (or located, if they were captured but missing), they replace the corresponding offline files.

• You want to capture logged clips using device control or batch capturing. In Adobe Premiere Pro, a batch-capture

list is a set of offline clips; selecting specific offline clips sets them up for batch capturing.

• You want to recapture clips used in the project. This requires making the online clips offline by using the Unlink

Media command.

• Asourcefileisunavailablewhenyouopenaproject,sothatAdobePremiereProcan’tlocateitautomaticallyand

you can’t locate it manually. Adobe Premiere Pro provides Offline and Offline All buttons in this case.

Note: Online and offline clips in Adobe Premiere Pro are not related to the concepts of online and offline editing.

To create an offline file

In the Project panel, click the New Item button at the bottom of the panel and choose Offline File from the

menu.

2 For Contains, select an option as needed.

3 For Tape Name, type the name of the tape containing the source video for the offline clip.

4 ForFileName,typethenameofthefileasyouwantittoappearondiskwhenyoucaptureitusingAdobePremiere

Pro.Ifyou’recreatinganofflinefileforasourcefilethatiscapturedbutisn’tonyourcomputeryet,typethenameof that file.

5 Enter a description, scene, shot/take, and log note as needed.

6 Enter the timecode for the entire untrimmed clip, including any extra frames you plan to capture for editing and

transitions.

Note: To be eligible for capture, an offline file must contain at least a tape name, file name, and Media Start and Media End settings.

To edit an offline file

❖ In the Project panel, double-click the offline file, edit options as needed, and then click OK.

To replace an offline file with a captured source file

In the Project panel, select one or more offline files.

2 Choose Project > Link Media.

3 Select the source file, and click Select.

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Note: If you selected more than one offline file, the Attach Which Media dialog box appears in turn for each file you selected. Pay attention to the offline file name in the title bar of the dialog box so that you relink the correct source file to each offline file.

To convert an online file to offline

In the Project panel, select one or more online files.

2 Choose Project > Make Offline.

3 Select one of the following options:

Media Files Remain On Disk Makestheselectedfilesofflineintheprojectbutdoesn’terasethesourcefilesfromthe

disk.

Media Files Are Deleted Makes the selected files offline in the project and erases the source files from the disk.

Note: IfyouselectMediaFilesRemainOnDiskandrecaptureaclipusingthesamefilenameasthefileleftondisk,the original media file is replaced. To preserve original clips without changing their names, move them to another folder or disk, or specify different file names for the clips you recapture.

Timecode

About timecode

Many camcorders and high-end video decks record timecode, which marks specific frames with unique addresses. Timecode is important whenever youwant to capture exactly thesame frames thatwere identified or captured previously, as in the following tasks:

• You want to log clips before you capture them.

• You plan to capture clips using batch (automated) capture.

• You want to recapture clips because the original files became corrupted or were deleted.

• You plan to export sequences to another system by using AAF or EDL.

• You’re using a system in which you edit quickly with low-resolution captures, and later recapture the clips at full

resolution and quality for the final version.

• You plan to synchronize captured video with audio recorded separately.

Unlike the numbers on time counters found in home VCRs, timecode is recorded onto videotape as part of the video signal. If footage lacks timecode, you can add it by copying it with a camera or deck that writes timecode. You can then log or capture the video from that device.

For best results,timecode should run continuously fromthe beginning to the end ofthe tape; itshouldn’trestart from zero anywhere in the middle. In editing, if you log a capture In point such as 00:00:01:09 but that number occurs on the tape two or three times because of timecode restarts, Adobe Premiere Pro can’t be certain which 00:00:01:09 is the place to start its capture. It can easily capture the wrong clips from tapes with discontinuous timecode.

To ensure unbroken timecode, you need to either shoot it continuously or stripe your tape with it before shooting.

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To ensure that you always shoot continuous timecode, record at least 5 seconds of extra video past the end of the

action in any shot. If you review aclip in the camera,be sure to rewind the tape back into that 5-second margin before recording again. Your camcorder reads the timecode from the frame on which you stop and begins recording timecode withtheverynextframenumberwhenyoustartyournextshot.Becareful;ifyouleaveagapbetweenthelastframeof the previous shot and the first frame of the next, the camcorder begins writing timecode at 00:00:00:00 again.

Striping or replacing timecode

You can ensure continuous timecode by recording timecode onto the tape before you use it. This process is called striping the tape. Stripingis notnecessary if you follow recommended shooting practices, but it can protectyou from accidentally breaking timecode by miscuing a tape in your camera.

To stripe a tape with timecode

Put an unused tape in the camera. It should have no timecode.

2 If you’re using a camera for striping, attach the lens cap and disable audio recording.

3 Ensure that all camera settings (particularlythe audiosample rate) are exactlythesameasthesettingsyouwilluse

when you shoot. Use all these same settings whenever shooting on that tape.

4 Begin recording. Let the camera or deck run until the entire tape has been recorded.

5 Before you record video on a striped tape, play about 30 seconds of it from the beginning. Verify that the

camcorderisreadingthetimecodeyoustripedbeforeyoustartshooting.The30-secondemptyleadonthetapealso helps in batch capturing.

Check your camera’s settings whenever changing tapes, especially when reinserting a tape you had begun shooting

previously. Though you may want to use different settings for different tapes, it’s best to use the same settings from beginning to end of each tape. These should match the settings used when first striping that tape.

To replace DV timecode

If your source footage is in DV format and its timecode isn’t continuous, you can replace its timecode by making a DVcopy,ordub,ofthetape.TheDVdevicemakingthecopyrecordsnewtimecodethatiscontinuous,soyoucan then log and capture video, with the new timecode, from the copy.

Note: This technique does not work when dubbing to the DVCAM format or using a Panasonic AG-DV2500 as the record deck.

1 Load the tape you shot into a camcorder or deck, and fully rewind it.

2 Load a new tape into a second camcorder or deck, which you will use to record the copy.

3 If the recording device includes an option to record video with the timecode from your original tape, be sure that

this option is disabled. See the operating instructions for the device for information on this option.

4 If both devices are digital, connect them using a digital connection, such as IEEE 1394 or SDI. This will make a

full-quality copy.

5 Connect the recording device to a television monitor.

6 Set both devices to VTR mode.

7 Make sure that the recording device is set to record from the digital port.

8 Beginrecordingthenewtapeandthenstartyouroriginaltapeplaying.Letthecamcordersordecksrununtilthe

entire original tape has been copied.

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Note: Scene Detect recognizes the starting and stopping points for each shot by looking for jumps in the timestamps. Because copying a tape this way creates a single clip with a continuous timestamp, you can’t use Scene Detect when you capture the copy in Adobe Premiere Pro.

Capturing timecode

The timecode of source video is captured when you use device control. Timecode capture with controllable analog devices depends on the precision of your tape deck. If your tape deck cannot read the timecode accurately, you may have to calibrate your system or manually assign the timecode to your movie by matching frames.

Note: Timecode is visible in the tape counter only on equipment that can recognize timecode, unless the timecode has been burned in or recorded over the picture in a copy of the tape. Most analog home VCRs cannot read or write timecode.

To set timecode manually for a clip

At times you may want to change the timecode from that recorded by Adobe Premiere Pro. For example, you captured footage from a DV copy of a Hi8 tape originally recorded with RCTC (Rewritable Consumer Time Code). The DV copy, and the video files on your computer copied from it, carry the DV timecode, not the original RCTC. For convenience in referencing shot logs made for the original Hi8 tape, you want to reset the timecode to the original RCTC numbers.

1 Select the clip in the Project panel.

2 Choose File > Timecode, specify options as needed, and click OK.

To 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 the Timeline panel. Adobe Premiere Pro provides many ways to enter timecode.

In Adobe Premiere Pro, the duration between the In and Out points includes the frames indicated by the timecode. For example, if you enter the same timecode for the In and Out points of a clip, the duration of the clip is one frame. When entering timecode, you can substitute periods for colons or type numbers without punctuation. Adobe Premiere Pro interprets the numbers you type as hours, minutes, seconds, and frames.

• To set a specific timecode, select the timecode, type a new timecode, and then press Enter.

• To adjust the current timecode by dragging, drag the timecode horizontally. For example, to set an earlier

timecode, drag to the left.

• To adjust the current timecode by using a relative value, type the plus sign (+) or minus sign (–) and the number

of frames to add or subtract. For example, to subtract five frames from the current timecode, select the entire timecode, type –5, and then press Enter.

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Online and offline editing

About online and offline editing

For online editing, you capture clips at the level of quality required for the final version of the video program. This is the default method of working in Adobe Premiere Pro. Online editing works well when the speed and storage capacity of the host computer are adequate to the demands of the video formats used. For example, most modern computers can handle the datarate of DV in full resolution. They may be challenged, however, by the greater demands of, for example, HDV or HD footage. For many videographers, that’s where offline editing comes in.

In offline editing, you capture low-quality clips for editing purposes, but recapture them at high resolution when it’s timetofinish,render,andexportyourfinalproduct.Editingthelow-resolutionclipsallowsstandardcomputersto edit excessively large assets, such as HDV or HD footage, without losing performance speed or running out of storage. It also lets editors use laptops to edit—for example, while on location.

You may edit a project entirely online. Onthe other hand, you may editin a two-phase workflow: making your initial creative decisions offline, then switching to online for finishing tasks like fine-tuning, grading, and color correction.

You can complete an offline edit of, for example, an HD project with Adobe Premiere Pro and then export your project to the Advanced Authoring Format (AAF) or EDL for transfer to an editing system with more powerful hardware. You can then perform the final online edit and rendering, at full HD resolution, on that system.

To recapture clips

You can recapture clips in an existing project using batch capturing. Clips can be recaptured only if they have been unlinked from their source files, becoming offline files, and if the source medium contains timecode.

1 If you want to override the capture settings for any clip that you intend to recapture, set the clip’s Capture settings.

2 In the Project panel, select all the clips you want to recapture. If you want to select clips in different bins, use List

view, which lets you view multiple bins.

3 Choose Project > Make Offline. The selected clips are dissociated from their current source files.

4 In the Make Offline dialog box, specify whether the source media files are to remain on disk or be deleted.

5 With the offline files still selected, choose File > Batch Capture. Adjust the settings as necessary.

6 Verify that the deck and source videotape are set up properly for capture, and then click OK.

7 After recapturing is complete, save the project.

Importing files

To import files

You can import video, audio, graphics, and photo files of a variety of formats into an Adobe Premiere Pro project. You can import a single file, multiple files, or an entire folder. Frame sizes cannot exceed 4096 x 4096 pixels. If the software you use to create art does not let you specify pixels as a unit of measure, specifying points may be sufficient.

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If you import a file and it appears horizontally or vertically distorted (stretched), its pixel aspect ratio may not be interpreted correctly. Change the pixel aspect ratio for the file if necessary. Adobe Premiere Pro continuously rasterizes EPS images, so you can scale these files without pixelation.

• To import clips, choose File > Import. Locate and selecta file, or hold down Control and select multiple files. Click

Open.

• To import a recently imported clip, choose File > Import Recent File > [file name].(Thefilenamemaynotappear

if Adobe Premiere Pro preferences have been reset.)

• To import a folder of clips, choose File > Import. Locate and select the folder, and then click Import Folder. The

folder imports as a new bin in the Project panel with the folder’s contents.

You can also import files and folders by dragging them from Windows Explorer into the Project panel.

See also

“About aspect ratio” on page 29

Importing digital audio

You can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored on computer hard disks, audio CDs, or digital audio tape (DAT) as binary data readable by computers. To keep quality as high as possible, transfer digital audio files to your computer via digital connections. Avoid digitizing the analog outputs from your audio sources through your sound card.

For maximum editing performance, Adobe Premiere Pro conforms each imported audio channel to 32-bit floating-point data at the project’s sample rate. All imported audio is conformed, even audio tracks in video files.

Note: If you want to capture an audio-only file from a digital video source, choose Audio from the Capture pop-up menu in the Logging pane of the Capture panel.

YoucanuseCDaudio(CDA)filesinaproject,butbeforeyoucanimportthemintoAdobePremierePro,youneed toconvertthemtoasupportedfileformat,suchasWAV.YoucanconvertCDAfilesusinganaudioapplicationsuch

as Adobe Audition

Note: Make sure that you own the copyrights or have licensed the copyrights to any CD tracks you use.

See also

“Supported file formats for import” on page 67

Using compressed audio formats

Music stored in formats such as MP3 and WMA are compressed using a method that removes some of the original audio quality. To play back compressed audio, Adobe Premiere Pro must decompress the file and may need to resample it to match your output settings. These conversions are likely to degrade audio quality. For this reason, use an uncompressed or CD audio version of the audio clip whenever possible.

Using audio from Adobe Audition

You can use Adobe Audition to perform advanced audio editing. If you export the audio from Adobe Audition to an audio file format compatible with Adobe Premiere Pro, you can import the audio into your Adobe Premiere Pro projects. If you select the Project Linking option as you export audio from Adobe Audition, you can choose Edit > Edit Original in Adobe Premiere Pro to open an audio clip’s Adobe Audition project directly from within Adobe Premiere Pro.

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Importing still images

You can import still images with frame sizes up to 4096 x 4096 pixels, individually or in groups. The size and aspect ratio of imported still images are affected by the same factors that affect other imported assets, for example, whether they use square pixels.

An imported still image uses the duration specified in the Still Image preferences. You can change the duration of a still image in a Sequence panel.

To change the default duration for still images

Choose Edit > Preferences > General.

2 For Still Image Default Duration, specify the number of frames you want as a default duration for a still image.

Note: Changing the default duration of still images does not affect the duration of still images that are already part of a sequence.

To change the duration of a still image in the Timeline panel

❖ Do one of the following:

• Drag the Selection tool over either end of the image.

• Select the clip, and choose Clip > Speed. Enter a new duration, and click OK.

To adjust the pixel aspect ratio of an imported still image

Select the still image in the Project panel.

2 Choose File > Interpret Footage.

3 Select an option in the Pixel Aspect Ratio section, and click OK.

4 Select one of the following:

Use Pixel Aspect Ratio From File Uses the original aspect ratio saved with the still image.

Conform To Lets you choose from a list of standard aspect ratios.

Note: When using Photoshop to generate images for use in video projects, it’s best to use the Photoshop preset named for the video format you’ll use. Using the preset ensures that your images are generated with the correct aspect ratio.

See also

“About aspect ratio” on page 29

Importing Photoshop images

You can import files from Adobe Photoshop 3.0 or later. Adobe Premiere Pro supports 16-bit as well as 8-bit Photoshop files. You can control how layered Photoshop files are imported. Empty (transparent) areas of nonflattened Photoshop files are transparent when imported into Adobe Premiere Pro, because the transparency is stored as an alpha channel. This lets you import Photoshop graphics and superimpose them over clips in other tracks with no extra effort.

In addition, you can import a layered Photoshop file as a sequence, enabling you to set up graphics in Photoshop and then import them into an Adobe Premiere Pro project.

See also

“To create a new Photoshop file in your project” on page 155

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Importing Illustrator images

You can import an Adobe Illustrator still-image file directly into an Adobe Premiere Pro project. Adobe Premiere Pro converts path-based Illustrator art into the pixel-based image format used by Adobe Premiere Pro, a process known as rasterization. Adobe Premiere Pro automatically anti-aliases, or smooths, edges of the Illustrator art. Adobe Premiere Pro also converts all empty areas into an alpha channel, so that empty areas become transparent.

If you want to define the dimensions of the Illustrator art when it is rasterized, use Illustrator to set crop marks in the Illustrator file. For information about setting crop marks, see Illustrator Help.

To import a layered Photoshop or Illustrator file

When you import a layered file saved in Photoshop or Illustrator file formats, you can choose how to import the layers in the Import Layered File dialog box:

• Merge the layers, combining all layers into a flattened clip.

• Import only one of the layers from the file.

• Convert the layers into a sequence of frames.

Adobe Premiere Pro imports attributes that were applied in the original file, including position, opacity, visibility, transparency (alpha channel), layer masks, adjustment layers, common layer effects, layer clipping paths, vector masks, and clipping groups. A white background in Photoshop exports as opaque white, whereas a checkerboard background indicates areas that translate into alpha channel transparency when the Photoshop file is exported to a format that supports alpha channels.

Converting layers into a sequence makes it easy to set up graphics using layers in Photoshop or Illustrator. When AdobePremiereProconvertslayerstoasequence,thesequenceisimportedintotheProjectpanelasabin;eachlayer in the file becomes an individual clip in the bin. Each clip’s name consists of the layer name followed by the name of the file that contained it. In addition, Adobe Premiere Pro automatically creates a sequence in which each layer is inserted in order at the default still-image duration. You can use this sequence as a clip in other sequences.

Note: Some Photoshop layer attributes aren’t supported, such as special blending modes and the Knockout option. For best results, use basic transparency and opacity in Photoshop.

1 Choose File > Import.

2 In the Import dialog box, locate and select the layered file. (If the file name doesn’t appear, make sure that All

Supported Files is selected for Files Of Type.)

3 In the Import Layered File dialog box, select either Footage or Sequence from the Import As pop-up menu.

4 Choose Merged Layers to import all layers in the file as a single layer, or choose the layer you want to import from

the file.

5 Choose one of the following options from the Footage Dimensions pop-up menu, and then click OK:

Document Size Resizes the file to the size of the document as specified in Project settings.

Layer Size Imports the file at the size of the merged layers or selected layer.

Note: When you import one layer as a single clip, its name in the Project panel consists of the layer name followed by the original file name.

Preparing still images

When you prepare still images in applications that support color management, such as Photoshop, colors mayappear more consistent between the application and Adobe Premiere Pro if you prepare images in a video-friendly color space, such as sRGB or NTSC RGB.

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Forbestresults,createfileswithaframesizeatleastaslargeastheframesizeoftheprojectsothatyoudon’thaveto scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project. For example, if you plan to scale up an image 200%, prepare the image at double the project frame size before you import it.

Importing animations

You can import an animation contained in a single file, such as an animated GIF. You can also import a sequence of numbered still-image files andautomatically combine them into a single video clip; each numbered file becomes one frame of video. Importing a sequence is useful for animations exported as a series of numbered still images by applications like After Effects. The images in the series cannot include layers. For information on layers and flattening, see the application’s documentation.

When creating three-dimensional images or animations for use in Adobe Premiere Pro, follow these guidelines whenever possible:

• Use broadcast-safe color filtering.

• Use the pixel aspect ratio and frame size specified in the project settings in Adobe Premiere Pro.

• Use the appropriate field settings to match your project.

• If you’re using an Adobe application to generate the sequence, select the Embed Project Link option so that you

can open the sequence in the application that was used to create it.

To import numbered still-image files as one clip

Make sure that each still-image file name contains an equal number of digits at the end and has the correct file

extension—for example, file000.bmp, file001.bmp, and so forth.

2 Choose File > Import.

3 Locate and select the first numbered file in the sequence, select Numbered Stills, and click Open. When

Numbered Stills is selected, Adobe Premiere Pro interprets each of the numbered files as a single frame in a video clip.

Note: Changing the defaultduration of still images in the Preferences dialogbox doesnot affect the duration of numbered stills imported into a video clip. Each still becomes one frame when imported in this way.

Importing earlier projects

You can add the contents of an Adobe Premiere 6.0 or 6.5 project into an open Adobe Premiere Pro project. The importedproject’sclipsandsequencesareaddedtotheProjectpanelinabinnamedaftertheimportedproject.The bin hierarchy of the imported project is maintained within its new bin. All of the imported project’s special effects, such as transitions and effects, are included. Use caution when importing a project into another project with a different timebase or audio sample rate, because these differences may affect edit positioning and audio quality.

Importing a project into another project is the only way to transfer its complete sequence and clip information.

Note: In earlier versions of Adobe Premiere, storyboards were stored in files independent of project files. Adobe Premiere Pro contains all storyboard features within the Project panel, but you can import storyboard files created in earlier versions by choosing File > Import.

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Importing libraries

Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file. Although Adobe Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files. A library converts to a bin when you import it into an Adobe Premiere Pro project. To store a set of clips to make them available for other projects, simply save a project that contains the clips, and import that project into other projects.

Chapter 6: Managing and viewing assets

Customizing the Project panel

To change Project panel views

After you obtain an asset, its name appears in the Project panel. The Project panel lists detailed information about eachassetinyourproject.YoucanviewandsortassetsineitherListvieworIconview.Listviewdisplaysadditional information about each asset. You can customize the information it displays to meet the needs of your project.

B A

Project panel views A. List view B. Icon view

• To change from one view to another, click the List View button or the Icon View button at the bottom of

the panel, or choose View > List or View > Icon from the Project panel menu.

• To arrange items in Icon view, drag an item to any square. As you drag, a vertical bar indicates where the item is

going. If you drag an item to a bin, the item goes inside the bin.

You can use Icon view for storyboarding and then use the Automate To Sequence feature to move the storyboard into

a sequence.

• To sort items in List view, click the column heading by which you want to sort the items. If bins are expanded,

items sort from the top level and down the Project panel hierarchy. To reverse the sort order, click the column heading again.

• To hide or show the thumbnail viewer and clip information, choose View > Preview Area from the Project panel

menu.

• To hide or set the size of thumbnails, choose Thumbnails from the Project panel menu.

• To removeempty space between items inIconview and arrangethem within thewidth of the Project panel, choose

Clean Up from the Project panel menu.

To add a column

1 Choose Edit Columns from the Project panel menu.

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2 Select the name of the column after which the new column will appear, and click Add.

3 Type a name.

4 Choose a type. Text columns can contain any text you enter. Boolean columns provide a check box. Click OK.

To customize List view columns

The columns in the Project panel’s List view tell various things about the assets listed. You can select which columns Adobe Premiere Pro will display, rename columns, and change their order.

Choose Edit Columns from the Project panel menu, and do any of the following:

• To display a column, select the option next to the column.

• To rename a column, select a column name, click Rename, and edit the name.

• To remove a column, select a column name and click Remove.

• To move a column to the left in List view, select its name and click Move Up. To move it to the right, click Move

Down.

You can make certain adjustments to the Project panel:

• To change the width ofa List view column,position the mouse over adividing line between columnheadings until

the Column Resize icon appears; then drag horizontally.

• To sort by a column, click a column name to switch between ascending and descending sorts.

• Rearrange columns by dragging them horizontally in the Project panel.

Note: If you can’t locate or change a column attribute in the Edit Columns dialog box, the attribute is locked by Adobe Premiere Pro and cannot be changed. For example, you can change the names of columns you added, but not the names of columns built into Adobe Premiere Pro.

See also

“List view columns” on page 93

List view columns

The names of most of the Project panel’s columns are self-explanatory. Following are definitions for the less obvious ones:

Name By default, displays the asset’s file name. You can change the name the asset uses within the project. You

cannot remove the Name field from the List view.

Label Color that helps identify and associate assets.

Media Duration Length of the source file, expressed in the currently specified Display option.

Note: In Adobe Premiere Pro, all durations in any panel include the frames specified by the In point and Out point. For example, setting the In point and Out point to the same frame results in a duration of one frame.

Video Duration The duration of a clip’s video component as defined by the Video In point and Out point and incor-

porating any adjustments applied in Adobe Premiere Pro, such as changing the clip speed.

Audio Duration The duration of an asset’s audio component as defined by the Audio In point and Out point and

incorporating any adjustments applied in Adobe Premiere Pro, such as changing the clip speed.

Video Info The frame size and aspect ratio of the asset, and whether an alpha channel is present.

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Video Usage The number of times the video component of an asset is used in the project’s sequences.

Audio Usage The number of times the audio component of an asset is used in the project’s sequences.

Tape Name The name of the source tape, as entered when the clip was logged or captured.

Description Optional description of the asset, entered when the clip was logged or captured.

Comment Optional comment, entered when the asset was logged or captured, intended for identification and

sorting purposes.

Log Note Optional text that was entered using the Log Note option when an asset was captured using the Capture

panel.

File Path Location of the file on disk, expressed as a folder path.

Capture Settings Indicates whether a file has capture settings assigned in Adobe Premiere Pro.

Status Whether an asset is online or offline. If a clip is offline, this also indicates why.

Offline Properties Whether the source of an offline file contains video, audio, or both.

Scene ScenenamethatwasenteredusingtheCapturepanel’sSceneoption.Itcanbehelpfultousescenenamesfrom

a script here to help organize your work.

Shot/Take Shot and/or take name that was entered using the Capture panel’s Shot/Take option.

Good Indicates preferred assets.

To define a different thumbnail for a clip

By default, the first frame of a clip appears in the thumbnail viewer and in other places in the project where the thumbnail is displayed. You can override the default thumbnail by designating any clip frame as a poster frame.

1 Select the clip in a Project panel.

2 Press the Play button or drag the play slider on the thumbnail viewer in the upper left corner of the Project

panel until the frame you want is displayed.

3 Click the Set Poster Frame button .

You can also set the poster frame by right-clicking the thumbnail viewer and choosing Set Poster Frame.

Organizing assets

About 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. Bins can contain source files, sequences, and other bins. You may want to use bins in the following ways:

• To store lists of offline files for batch capture.

• To store each sequence and its source files separately.

• To organize files by type, such as video, still images, and audio files.

Adobe PREMIERE PRO 2 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Contents

Chapter 1: Getting started with Adobe Premiere Pro 2.0

Installation and registration

To install

To activate

To register

Adobe Help Center

About Adobe Help Center

To check for updates

To set Adobe Help Center preferences

To view support documents

To display More Resources

To add contact information in More Resources

Using Help

Using Help

To navigate Help

To search Help topics

Search tips

To print a topic from Help

To change the view

To use bookmarks

Tips, training, and other resources

Learning resources

Total Training Video Workshop DVD

Resource Center

Other resources

Extras and other downloads

New features

What’s new

Chapter 2: Workflow and workspace

Workflow and workspace basics

Workflow overview

About the Adobe workspace

To display menus

About the Info panel

Using tools

Customizing the workspace

Drop zones

To dock or group panels

To open a panel in a floating window

To close a panel or window

To resize panel groups

Working with multiple monitors

To brighten or darken the user interface

To use the Events panel

Predefined workspaces

To use an Adobe workspace

To create or modify a workspace

To delete a workspace

Chapter 3: Projects

Project basics

About projects

To create a project

About project settings

To customize project settings

General settings

Video Rendering settings

To open a project

To locate missing files

To skip missing files

To save a project

To change the Auto Save settings

To open an Auto Save project

Aspect ratio

About aspect ratio

Using assets with various aspect ratios

To change pixel aspect ratios

To scale assets manually

To scale assets automatically

About square-pixel footage

To correct recurring misinterpretations

Common pixel aspect ratios for assets

Common pixel aspect ratios for assets

24P projects

About 24P footage

To create a 24P project