Adobe PREMIER PRO 7 User Manual

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Adobe Premiere Pro Help

Using Help

Using Help |Contents|IndexBack1

Using Help

About Help

Adobe Systems Incorporated provides complete documentation in an Adobe PDF-based help system. This help system includes information on all tools, commands, and features of an application. It is designed for easy on-screen navigation and can also be printed and used as a desktop reference. Additionally, it supports third-party screen-reader applications that run in a Windows environment.

Navigating in Help

Help opens in an Adobe Acrobat window with the Bookmarks pane open. (If the Bookmarks pane is not open, click the Bookmarks tab at the left edge of the window.) At the top and bottom of each page is a navigation bar containing links to this page (Using Help), the table of contents (Contents), and the index (Index). To move through pages sequentially, you can click the Next Page and the Previous Page arrows; click the navigation arrows at the bottom of the page; or click Back to return to the last page you viewed. You can navigate Help topics by using bookmarks, the table of contents, the index, or the Search (Acrobat 6) or Find (Acrobat 5) command.

To find a topic using bookmarks: 1

In the Bookmarks pane, click the plus sign (+) (Windows) or the right-facing arrow

(Mac OS) next to a bookmark topic to view its subtopics.

Click the b

ookmark to go to that topic.

To find a topic using the table of contents: 1

Click Contents in the navigation bar.

2On the Contents page, click a topic to go to that topic. 3To view a list of subtopics, click the plus sign (+) (Windows) or the right-facing arrow

(Mac OS) next to the topic name in the Bookmarks pane.

To find a topic using the index:

Do one of the following:

•Click Index in the navigation bar, and then click a letter at the top of the page.

•⊃n the Bookmarks pane, expand the Index bookmark to view the letter subtopics;

then click a letter.

2Locate the entry you want to view, and click the page number to go to that topic. 3To view other entries for the same topic, click Back to return to the same place in the

index, and then click another page number.

Using Help |Contents |Index Back

2Adobe Premiere Pro HelpUsing HelpUsing Help |Contents |Index Back 2To find a topic using the Search command (Acrobat 6): 1Choose Edit > Search. 2Type a word or phrase in the text box and click Search. Acrobat searches the document

and displays every occurrence of the word or phrase in the Results area of the Search PDF pane.

To find a topic using the Find command (Acrobat 5): 1Choose Edit > Find. 2Type a word or phrase in the text box and click Find. Acrobat searches the document,

starting from the current page, and displays the first occurrence. 3To find the next occurrence, choose Edit > Find Again.

Printing Help

Although Help is optimized for on-screen viewing, you can print selected pages or the entire file.

To print Help: Choose File > Print, or click the Print icon in the Acrobat toolbar.U sing Help |Contents |Index Back

Adobe Premiere Pro Help

Contents

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Contents

Learning A bout Adobe Premiere Pro 4 Key Features in Adobe Premiere Pro 10 Tutorials 15 Working with Projects 40 Capturing and Importing Source Clips 63 Assembling a Sequence 103 Editing a Sequence 138 Adding Transitions 162 Mixing Audio 171 Using the Adobe Title Designer 193 Superimposing and Compositing 219 Applying Effects 235 Producing Final Video 289 Keyboard Shortcuts 312 Legal Notices 314

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Learning About Adobe Premiere Pro

Welcome

Welcome to Adobe® Premiere® Pro, a revolutionary nonlinear video-editing application that delivers a breakthrough render-free experience. Its high-performance toolset takes video and audio production to a new level, giving you a professional edge. Built for the superior performance of Microsoft Windows XP systems, Adobe Premiere Pro delivers the power and precision you need to tell a story better and faster than ever before. Adobe provides a variety of options for you to learn Adobe Premiere Pro, including online Help and tool tips. You can also use the Adobe Web site to easily access a host of continually updated Web resources for learning Adobe Premiere Pro, from tips and tutorials to technical support information. Adobe Acrobat possible to view Adobe PDF files. Many of the files on the Adobe Web site are in PDF format.

Getting help

There are a number of ways to get the help you need in Adobe Premiere Pro. The following table can help you find specific resources, based on the type of information you require.

If you . . . Try this . . .

Are new to all versions of Adobe Premiere

• Browse through the information in “Working with Adobe Premiere

Pro” on page 5 for information on specific tasks.

• Choose Help > Contents. Then select “Looking at the Work Area”

from the links on the Contents tab.

• Go to www.adobe.com/products/premierepro and look for training

information.

• Move the pointer over a tool to display the name of the tool.

• Use the Tip of the Day topics to get information on some of the key

Adobe Premiere Pro tasks. Choose Help > Tip of the Day. Want information on installing Adobe Premiere Pro Install the Adobe Premiere Pro application from the Adobe Premiere Pro CD onto your hard drive; you cannot run the program from the CD. Follow the on-screen installation instructions. For more detailed information, see the HowToInstall.rtf file on the CD. Are upgrading from a previous version of Adobe Premiere Go to the “Key Features” chapter to get information on functionality that is improved from Adobe Premiere 6.0 and 6.5.

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® Reader® software, included on the Adobe Premiere Pro CD, makes it

Working with Adobe Premiere Pro

People work with Adobe Premiere Pro in many different ways. In this section, you’ll find directions to specific information to help you accomplish some common Adobe Premiere Pro tasks.

If you want to mix audio

• Create audio crossfades using the audio transitions in the Effects palette (see

“Crossfading or fading out audio” on page 176).

• Record a voiceover microphone or other external analog source directly to a track by

using the Audio Mixer (see “Capturing analog audio” on page 79).

• Control the volume level of each track in a sequence using the track sliders in the Audio

Mixer, and control clip gain using the Clip > Audio Options > Audio Gain command (see “Adjusting gain or volume levels” on page 175).

• Apply effects to audio tracks using the Audio Mixer, or to audio clips using the Effects

palette (see “Applying effects to audio tracks” on page 184 and “Applying effects to audio clips” on page 185).

• Vary audio settings over time by using mixer automation (see “Automating audio

changes in the Audio Mixer window” on page 190) or by setting keyframes in the Timeline window (see “Working with keyframes in the Timeline window” on page 222).

• Apply advanced editing techniques to your source clips by using Adobe Audition®

(see “Using audio from Adobe Audition” on page 78).

If you want to superimpose or composite clips

Superimposing and compositing can be as simple as importing clips and stills, stacking them on video tracks in the Timeline window, and using transparency to let clips on lower tracks show through. Alpha channel transparency is automatically applied. For clips without alpha channels, Adobe Premiere Pro provides many ways to apply transparency.

• Import clips (see “Importing clips” on page 81) containing an alpha channel

(see “Defining transparency terminology” on page 219).

Want step-by-step instructions Try one of the tutorials available on the Adobe Web site. (See “Adobe Premiere Pro support page” on page 8.) Are looking for detailed information about a feature Use the index or search for the feature in Help. Are looking for background information on digital video Go to www.adobe.com/products/premierepro and look for background information. Want answers to common troubleshooting questions Search the Adobe Support Knowledgebase and Premiere Pro Top Issues, which you can access from the Adobe Premiere Pro support Web site at www.adobe.com/products/premierepro. (See “Adobe Premiere Pro support page” on page 8.) Want a complete list of keyboard shortcuts Look at the Keyboard Shortcuts Appendix.

If you . . . Try this . . .

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• Make a clip uniformly transparent by changing the Opacity value (see “Adjusting

opacity” on page 221).

• If a clip’s transparency is defined by a specific color, apply a keying effect (see “Using

keys” on page 227).

• If transparent areas are marked by another file, such as a matte, apply the matte to the

clip (see “Using matte keys” on page 230).

If you want to color correct a clip

Adobe Premiere Pro includes a number of image adjustment filters, including a comprehensive color correction filter. Moreover, you can accurately measure your adjustments using industry standard waveform monitor and vectorscope.

• Select a clip in a sequence and cue the current frame to the clip (see “Editing clips in the

Timeline window” on page 138).

• If you plan to use the scope views, open a reference monitor and gang the reference

monitor and program view together (see “Using a reference monitor” on page 112).

• Set the reference monitor’s display mode so that it displays one of the waveform

monitor or vectorscope options (see “Choosing a Display Mode setting” on page 110 and “Understanding the waveform monitor and vectorscope” on page 111).

• Apply the Color Corrector filter to the clip and adjust its parameters (see “Correcting

color in a clip” on page 254).

If you want to prepare media created in other Adobe products for Adobe Premiere Pro

Adobe Premiere Pro accepts a wide range of file formats, but is particularly well integrated with files created by other Adobe products. When you import files created with other programs, such as Adobe Photoshop

® and Adobe Illustrator®, take steps to achieve the

smoothest and most efficient workflow:

• Make image adjustments (such as retouching or color correction) before importing a

file into Adobe Premiere Pro. Though you can make many of the same adjustments later in Adobe Premiere Pro, making them beforehand can spare you unnecessary processing time (see “About Fixed effects” on page 235, “About Standard effects” on page 235, and “Previewing a sequence” on page 157).

• Crop or resize still images to dimensions that are compatible with your Adobe Premiere

Pro project, taking differences in pixel aspect ratio into account (see “About pixel aspect ratio” on page 99).

• Crop or resize oversized images that you want to animate in Adobe Premiere Pro to the

minimum dimensions you need to achieve the effect, and make sure that the image doesn’t exceed the maximum dimensions allowed (see “File-size limitations” on page 102 and “Animating effects by using keyframes” on page 245).

• Create and save transparent areas as an alpha channel, and understand how Adobe

Premiere Pro interprets aspects of Adobe Illustrator and Adobe Photoshop files, such as empty areas and clipping masks (see “Importing still images” on page 82).

• Understand which elements of an Adobe After Effects® project can be transferred to an

Adobe Premiere Pro project (see “Opening a project in Adobe After Effects” on page 299).

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If you want to customize your editing environment

Adobe Premiere Pro’s flexible interface lets you work the way that’s best for you and your projects. You can fully customize the windows, workspaces, and most keyboard commands to maximize your efficiency:

• Customize each window according to your editing style or the task at hand (see

“Customizing the Project window display” on page 50, “Using labels” on page 53, “Customizing the Monitor window” on page 108, and “Using the Timeline window” on page 114).

• Arrange and resize windows and palettes to suit your system or personal preferences,

and save the arrangement as a custom workspace (see “Working with windows in Adobe Premiere Pro” on page 44).

• Familiarize yourself with standard keyboard shortcuts, and create your own custom

shortcuts for nearly any command or function (see “Using keyboard shortcuts” on page 55 and the Keyboard Shortcuts Appendix).

If you want to burn your movies onto DVD discs

You can create DVDs directly in Adobe Premiere Pro if you have a DVD burner connected to your computer. Adapt your projects easily for the DVD format:

• Ensure that your clips and transitions play back correctly by preparing your audio and

video clips for DVD (see “Requirements for DVD output” on page 291).

• Set sequence markers in the Timeline window to designate chapters in your DVD movie

(see “About chapter links” on page 127).

• Select from a comprehensive list of transcoding options by choosing File > Export >

Export to DVD and selecting Encoding (see “Exporting to DVD” on page 289).

If you want to capture and export video

Adobe Premiere Pro is designed specifically to make DV capture and export a snap:

• Configure your video capture hardware according to the manufacturer's instructions.

Make sure that your hard drive has adequate space available and is fast enough for video capture (see “Avoiding DV capture problems” on page 96).

• When you create a new project, choose a preset that matches your capture device's or

source material’s video specifications (see “Specifying project settings” on page 58).

• Choose File > Preferences > Device Control to set up your device controller. Select the

Scratch Disks preference to specify the hard disk that you'll capture video and audio to (see “Setting up device control equipment” on page 68 and “Using scratch disks” on page 57).

• Choose File > Capture and set In and Out points as your video plays. Or use the Scene

Detect feature to capture DV segments that were created each time the camera's Record button was pressed. When all your clips are logged, click the In/Out button to capture them to the hard disk (see “Using Capture window device controls” on page 69).

• Make sure that you specify the correct compressor and data rate for video export.

Review the steps for exporting to videotape in “Preparing a DV program for videotape recording” on page 297 and “Video export settings” on page 304.

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Other learning resources

In addition to the information included with your application, Adobe provides several other learning resources.

Adobe Premiere Pro support page

On the Adobe Premiere Pro support page on the Adobe Web site, you’ll find product information and links for downloading plug-ins and updates, as well as information on training, support, vertical market solutions, and Adobe Premiere Pro–related products. The many useful learning tools available at www.adobe.com/products/premierepro include the

following:

• Step-by-step tutorials

• Updates, patches, and plug-ins

• Links to the Adobe Support Knowledgebase, containing the latest Adobe Premiere Pro

technical support solutions

• Training resources in print and online form

• A searchable database of answers to technical questions

• Links to user forums

Adobe Press

Adobe Press offers books that provide in-depth training in Adobe software, including the acclaimed Classroom in a Book

® series developed by experts at Adobe. For information on

purchasing Adobe Press titles, visit the Adobe Web site at www.adobe.com, or contact your local book distributor.

The Adobe Certification program

The Adobe Certification program offers users, instructors, and training centers the opportunity to demonstrate their product proficiency and promote their software skills as Adobe Certified Experts, Adobe Certified Instructors, or Adobe Authorized Learning Providers. Certification is available for several different geographical regions. Visit the Partnering with Adobe Web site at www.partners.adobe.com to learn how you can become certified.

Adobe Solutions Network

The Adobe Solutions Network (ASN) provides various product and technical resources for developing with Adobe Premiere Pro. Here, you can find software developer kits (SDKs), sample libraries, the Developer Knowledgebase, and technical guides for areas such as JavaScript.

To access the Adobe Solutions Network for Adobe Premiere Pro:

Go to partners.adobe.com/asn/premierepro/ (English only) on the Adobe Web site.

Registration

In order for Adobe to provide you with the highest quality software, offer technical support, and inform you about new Adobe Premiere Pro software developments, please register your application.

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You can choose to submit the form directly or fax a printed copy. You can also register by filling out and returning the registration card included with your software package.

Customer support

When you register your product, you may be entitled to technical support. Terms may vary depending on your country of residence. For more information, refer to the technical support card provided with the Adobe Premiere Pro documentation. Adobe also provides several forms of automated technical support:

• See the ReadMe file installed with the program for information that became available

after this guide went to press.

• See the Adobe Premiere Pro support page for information on top support issues and

troubleshooting information for common problems. (See “Adobe Premiere Pro support page” on page 8.)

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Adobe Premiere Pro Help Key Features in Adobe Premiere Pro

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Key Features in Adobe Premiere Pro

Introduction

Adobe Premiere Pro is a high-performance toolset that takes video and audio production to a new level, giving you a professional edge. Delivering frame-accurate control for shortand long-format projects, Adobe Premiere Pro enables you to produce precise results every time.

Create projects in a streamlined user interface

Adobe Premiere Pro allows you to arrange clips, view media, and create motion paths with unprecedented ease. In addition, nested timelines allow new methods of displaying footage for complex projects. The capture controls, keyframing features, and media management tools allow you maximum flexibility with your media projects. Browse media in the revised Project window Quickly arrange your clips by storyboarding in Icon view, which presents media in an orderly, interactive grid. Or, display media in a detail-rich List view, which offers many information columns, plus an unlimited number of user-defined columns. For information on the Project window, see “Viewing clip information in the Project window” on page 46. Expanded Monitor window View a much wider range of media in the Monitor window, including still images, audio, and color mattes allowing three-point edits. Dock or undock the Effect Controls window with the Source view window for easy access to these controls. Dynamically update the targeted timeline with changes. For information on the Monitor window, see “Using the Monitor window” on page 103. Enhanced media management Select offline clips in Project window folders and easily recapture them. Link and unlink clips in the Project window with files on your hard disk. Delete an unwanted clip from the Project window and optionally delete it from your hard disk to reclaim storage space. Use expanded criteria to search for clips. View the contents of multiple folders at once and move content between them, or sort folder contents using multiple criteria. For information on media management in Adobe Premiere Pro, see “Naming, finding, and deleting Project window items” on page 47 and “Using List view columns” on page 51. Improved motion paths Create more exacting motion paths along which traveling mattes, still images, and video clips can smoothly animate using revamped controls and built-in support for subpixel positioning. New Ease-in, Ease-out keyframes provide more natural and fluid motion. For information on motion paths, see “Using the Motion effect” on page 240 and “Animating effects by using keyframes” on page 245.

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Adobe Premiere Pro Help Key Features in Adobe Premiere Pro

Using Help | Contents | Index Back 11 Keyframeable visual effect parameters Use the new Effect Controls window to set

keyframes for individual effect parameters and create effects with unprecedented control. For information on keyframing, see “About the Effect Controls window” on page 237. Customizable keyboard shortcuts Use the new Keyboard Customization window to edit shortcuts for commands, tools, and other options to match your preferences. Save custom shortcut sets to share with colleagues. For information on customizing keyboard

shortcuts, see “Using keyboard shortcuts” on page 55. Improved scene detection Specify a target folder in the Project window from the Capture window. Keep an eye on available hard disk space, deck activities such as seeking and shuttling, and other information during capture. For information on the capture controls, see “Using the Capture window” on page 64.

Create projects as part of a larger workflow

Adobe Premiere Pro works with leading Adobe tools such as Adobe After Effects®, Adobe Photoshop hardware. You can import and export your projects in a variety of formats to suit your needs. Tighter Adobe integration Move easily between Adobe Premiere Pro and Adobe After Effects because they work similarly. Import layered Adobe Photoshop files as flattened clips, or as timelines with each layer on a separate track. Export projects as AVI and MPEG files for use in Adobe Encore DVD, a creative tool for authoring sophisticated multilanguage DVDs. Timeline markers from Adobe Premiere Pro turn into DVD chapter points. For information on how Adobe Premiere Pro works with Adobe Photoshop and Adobe Illustrator files, see “Importing still images” on page 82. For information on how Adobe Premiere Pro works with Adobe After Effects, see “Opening a project in Adobe After Effects” on page 299. For information about using chapter marks for use in Adobe Encore DVD, see “Using sequence markers for comments, chapter links, and Web links” on page 126. For information on working with audio in Adobe Audition, see “Using audio from Adobe Audition” on page 78. Extensive hardware support Work with a wide range of video hardware from Sony DVCAM equipment and the latest digital video decks and camcorders to third-party boards. Expand the capabilities in Adobe Premiere Pro to include support for SD and HD thanks to its resolution independence and its built-in support for the new pixel aspect ratios, time bases, and frame rates required for these formats. For information on hardware supported in Adobe Premiere Pro, see “About digital and analog sources” on page 92. Extensive import and export capabilities Produce video and audio content for all leading delivery media, including broadcast formats such as DV, SD, and HD; popular optical formats, such as DVD, CD, VCD, and SVCD; and the Web. Adobe Premiere Pro works with virtually any codec that Windows XP supports. A sample of supported video formats includes MPEG1, MPEG2, DV, AVI, Windows Media 9 Series, Real Media 9 (export only), QuickTime, Open DML (import only), and more. For information on export formats in Adobe Premiere Pro, see “File types available for export” on page 302. Continuous rasterization of EPS files Scale imported EPS files freely without worry of pixelization. Adobe Premiere Pro continuously rasterizes EPS files as you scale them. See “Adjusting position, scale, rotation, and anchor point” on page 241.

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Adobe Premiere Pro Help Key Features in Adobe Premiere Pro

Using Help | Contents | Index Back 12 Export to AAF Easily exchange Adobe Premiere Pro projects for more finishing work:

Export them as AAF (Advanced Authoring Format) files, an industry-endorsed open interchange format. For information on AAF, see “Exporting to AAF” on page 300.

®, and Adobe Encore™ DVD. It also works effortlessly with processors and video

Work with enhanced audio capabilities

Take advantage of powerful new audio controls and built-in ASIO and VST support to make your audio punch like never before. Powerful new audio controls Import and export the highest quality 24-bit, 96 KHz audio files. Edit audio clips at the subframe, audio-sample level with precision up to 1/ 96,000 of a second with 32-bit floating-point mathematical precision—for example, to remove small pops and crackles. Create and work with multichannel audio to produce surround-sound and other multichannel audio effects. Record professional voiceovers directly to a timeline as it plays back. See “Applying effects to audio tracks” on page 184. VST (Virtual Studio Technology) compatibility Sweeten audio with 17 powerful industry-standard VST plug-ins that come with Adobe Premiere Pro, including Reverb, EQ, Pitch Shift, Dynamics, DeNoiser, and MultibandCompressor. New VST plug-in support enables you to expand your audio toolkit and use your favorite VST plug-ins with Adobe Premiere Pro. Improve effects and mixing workflow and processing efficiency using sends and submixes. For information on audio controls in Adobe Premiere Pro, see “Planning your audio workflow” on page 171. ASIO (Audio Stream Input/Output) compatibility Access the multichannel capabilities in a new generation of high-quality sound cards through built-in ASIO support in Adobe Premiere Pro. For information on ASIO, see “Setting a track’s input source” on page 182.

Adjust color values with ease

Use native YUV processing and three-point color correction to adjust your colors to the needs of your project. Native YUV processing Preserve the color values of original DV and other source footage—and improve application performance by avoiding color conversions—with native support for YUV processing. For information on YUV processing in Adobe Premiere Pro, see “Correcting color in a clip” on page 254. Three-point color correction Make sure shots match, and correct exposure, colorbalance, and other jarring errors caused by lighting, cameras, and environment with the new color correction filters in Adobe Premiere Pro. Adjust the hue, saturation, and lightness for highlights, midtones, and shadows; replace a color throughout a clip with a single selection; and more. Use built-in waveforms and vectorscopes to make sure that clips share the same color spectrum and that your color adjustments fall within legal broadcast limits. The Color Corrector uses 32-bit floating-point mathematical precision. For information on color correction, see “Understanding the waveform monitor and vectorscope” on page 111, “About Fixed effects” on page 235, and “About Standard effects” on page 235.

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Edit with precision

Take advantage of Adobe Premiere Pro’s ability to apply transitions to multiple clips. Move clips around easily and work with multiple edit points at once. Then preview how your rendered footage will look before actually rendering it. Take advantage of editing improvements Apply transitions on any video track, and automatically apply default transitions to overlapping clips. Overwrite, as well as insert, clips in a single move by dragging and dropping them on a timeline. Remove a group of clips from one area—closing the open gap with a ripple delete—and insert them in

another area in a single action. Select and trim multiple edit points at once. Copy and paste noncontiguous clip selections. View live updates in the Trim window, which shows an edit in progress as you’re adjusting the clip. Toggle between video-frame-accurate and audio-sample-accurate editing with a single click. For information on editing improvements in Adobe Premiere Pro, see “Applying and controlling Standard effects” on page 244, “About the Effect Controls window” on page 237, “Removing parts of a sequence” on page 146, “Trimming clips in the Timeline window” on page 148, and “Using the Trim window” on page 156. Render-free editing experience Play back full-resolution frames, including titles, transitions, effects, motion paths, and color correction on two channels, on-screen or on an external video monitor—with no additional hardware support required. This new renderfree editing experience enables you to see exactly how your work will look, so you can make more rapid edit decisions and ultimately deliver files more quickly. For information on render-free editing, see “Previewing a sequence” on page 157.

Work easily with digital video and export to DVD

Edit DV footage easily and export projects directly to DVD from Adobe Premiere Pro. Enhanced DV device control Use the new scene-detection controls in Adobe Premiere Pro to divide raw DV footage into scene-based clips. Also create low-resolution, scenebased clips for offline editing. Then, after assembling your rough cut, batch-capture fullresolution versions of only the clips you need. For information on DV device control, see “Using device control” on page 67. Direct export to DVD Export projects directly and burn DVDs for distribution of highquality video content. For information on exporting to DVD in Adobe Premiere Pro, see “Exporting to DVD” on page 289.

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Adobe Premiere Pro Help Tutorials

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Tutorials

Logging and Capturing Clips from DV Tape

In Adobe® Premiere® Pro, you can use the comprehensive set of controls in the Capture window to log and automatically capture DV footage to your hard disk. You can quickly and efficiently log clips you want to capture, then batch-capture them all in one session.

1. Connect your DV device.

Connect your camera or deck to your computer using an IEEE 1394 cable, and make sure both the device and the computer are turned on. Make sure that the tape you want to capture is loaded into the device.

2. Prepare a project for the clips you’ll capture.

Start Adobe Premiere Pro and open or create a project that was created using one of the DV presets in the New Project dialog box. When you use a DV-based preset, make sure the preset’s audio sample rate (48 kHz or 32 kHz) matches the setting on your camera at the time the tape was recorded.

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3. Open the Capture window and make sure it sees the device.

Choose File > Capture, or press F5. The status line above the preview area tells you about the connection between your device and Adobe Premiere Pro. If the status line reads “Capture device offline,” check to make sure all cable connections are secure and the device is on. In some cases, you may need to click the Settings tab in the Capture window and make sure the Device Control options are set correctly.

4. Set up the Logging tab.

In the Logging tab in the Capture window, make sure the settings in each section are the way you want them. The Setup section specifies whether to capture audio, video, or both, and where in the project Adobe Premiere Pro will log the clip. Note that logged clips are not captured immediately; they are stored as offline files in the Project window until you use the Batch Capture command to actually capture them. If you want to stored logged offline files separately in the Project window, create a new bin in the Project window and it will appear in the Log Clips To option. You can set the locations of captured files using the Settings tab. Use the Clip Data section to set up the information you want entered with each logged clip. This data becomes the default for each clip you log, so it’s a good idea to enter this information before you start. You can also adjust the clip data as the content changes during playback, because you can edit clip data while the tape is moving.

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The only other options you may want to set before logging are Scene Detect and Handles. Scene Detect automatically splits a tape into multiple clips based on scene breaks that Adobe Premiere Pro detects, such as when you pause the tape while recording. Handles are extra frames you capture so that you have flexibility for editing and transitions. For transitions, you should capture the equivalent of at least one second of handles before and after each scene.

5. Adjust the Settings tab.

In the Settings tab in the Capture window, make sure the settings in each section are the way you want them. The Capture Locations settings let you specify the folder or disk where Adobe Premiere Pro saves clips when they’re captured. By default, captured files are saved in the My Documents folder.

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The Device Control section includes Device settings you can adjust if Adobe Premiere Pro has trouble recognizing your device. The lower part of the Device Control section contains settings you can adjust in the course of normal capture; however, for DV capture the only option you might use is Abort Capture On Dropped Frames. The Preroll Time and Timecode Offset options are more commonly used when capturing footage from analog devices.

6. Log clips.

In the Capture window, use the tape transport controls to move to the first frame of the first clip you want to capture, and then click Set In. Use the controls to move to the last frame of the clip and then click Set Out. Click Log Clip, change the clip data as needed, and then click OK. Adobe Premiere Pro adds the logged clip as an offline file in the Project window. Repeat this step as many times as needed for the other clips you

want to log.

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As you log clips, feel free to adjust options as necessary as the content on the tape changes. For example, as the tape plays back, you can adjust the Log Clips To Bin or the Clip Data options as you anticipate an upcoming scene. Or if you clicked Set In or Set Out a little earlier or later than you intended to, you can type in a new timecode or slide the In or Out point slightly by dragging the timecode numbers to the left or right.

7. Batch-capture logged clips.

You can batch-capture any clips you’ve logged, as long as your capture device is online. Select offline files in the Project window, choose File > Batch Capture, and click OK. You’ll see options in the Batch Capture dialog box, but you do not need to use them unless you want to override the default capture settings. When batch capture finishes, the offline clips in the Project window are replaced with the captured clips. If you simply want to capture one or two clips quickly, there’s no need to log clips in advance. Use the device controls in the Capture window to find the first frame you want to capture and click Set In. Use the controls to find the last frame you want to capture, click Set Out, and then click In/Out in the Capture section. When the clip is captured, enter clip data when asked.

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Generate a Sequence Automatically

Of all filmmaking tools, few are as useful as the storyboard. Before you shoot, a storyboard helps you visualize and plan your project. During production—when you're acquiring shots out of sequence, sometimes days apart—a storyboard can preserve your sense of continuity. So once the shots are complete, it only seems natural to arrange them into storyboard form before committing them to a rough cut. With Adobe can organize clips in the Project window in storyboard fashion, then generate a sequence automatically with video and audio transitions.

1. Set up the Project window.

In the Project window’s pop-up menu, choose View > Icon to display your clips in a storyboardstyle grid. Go to the Project window’s pop-up menu again and choose Thumbnails > Off to uncheck the option and make the clips appear as thumbnail images. To change the size of the thumbnails, choose Thumbnails and select the size you prefer. Resize the Project window to show all of your clips if necessary.

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Adobe Premiere Pro Help Tutorials

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2. Set each clip’s thumbnail image.

Select a clip to view it in the preview area at the top of the Project window. Press the Play button next to the preview image, or drag the scroll bar under the preview image to cue the clip to a representative frame. When you’ve found an image that best signifies the clip’s contents, click the Poster Frame button to set the clip’s thumbnail image. If you do not set the poster frame, each clip’s In point (initially, a clip’s first frame) is used as the thumbnail image. Even if you change the In point later for editing, it may not make the best representative frame in a storyboard.

® Premiere® Pro, you

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3. Arrange the clips into a storyboard.

In the Project window, drag the clips into the order you want them to appear in the sequence. Arrange them from left to right, top to bottom, in storyboard fashion. You can drag a marquee to select a group of clips or Ctrl-click to add or subtract from your selection. Clips shift forward in the storyboard to make room for clips you drop into an occupied space in the grid. To quickly move clips back into view that have shifted outside the Project window, and to eliminate empty spaces between clips, choose Clean Up from the Project window’s pop-up menu.

4. Edit your clips as needed.

You can double-click a clip to open it in the Source view of the Monitor window and use the Source view’s playback controls to watch the clip. Define the first frame you want to include in the sequence by clicking the Set In Point button in Source view, and define the last frame you want to include by clicking the Set Out Point button.

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Adobe Premiere Pro Help Tutorials

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You should set In and Out points to define the parts of the clips you want to use, especially when the source clips include more footage than you plan to include in the final sequence. However, you don’t need to be too meticulous: Many editors use the storyboard method to create a quick rough cut and refine the sequence later.

5. Create duplicate clips as needed.

If you want to use parts of a clip more than once in a storyboard, you can create a duplicate clip. Select a clip and choose Edit > Duplicate. With the duplicate clip selected, choose Clip > Rename and give the clip a unique name. Repeat steps 2 through 4 for duplicate clips. It’s important to understand that you can add a source clip to a sequence as many times as you want without creating a duplicate clip. However, duplicate clips can come in handy when you want parts of the same media to appear in different places in a storyboard. Similarly, you might create one or more duplicate clips from a very lengthy and unwieldy clip. This way, you could treat each portion of the shot as a different clip.

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Adobe Premiere Pro Help Tutorials

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6. Select the clips to add to the sequence.

Once you’ve completed your storyboard, select the shots you want to include in the sequence. To select all the shots in the Project window, choose Edit > Select All. If you don’t want to include everything in the storyboard, you can drag a marquee to select a group of shots or Ctrl-click to add and subtract shots from your selection. The whole idea of a storyboard is to put your shots in sequential order. Nevertheless, you can have Adobe Premiere Pro place them in the sequence according to the order you select the clips instead.

7. Add clips to a sequence.

Click the Automate To Sequence button at the bottom of the Project window. Specify the options you want in the Automate To Sequence dialog box. For Ordering, you can choose Sort Order, because you’ve arranged your clips into a storyboard. For Placement, choose Sequentially; because you’re creating a rough cut, you can place the clips one after the other rather than at predefined points in the sequence. It does not matter what you

choose for Method—Insert Edit or Overlay Edit—because in this case, there aren’t any clips in the sequence already. If you want a specific transition between each clip, check the appropriate box or boxes to apply the default audio or video transition. Specify the duration of the transitions by entering a value for Clip Overlap. To exclude either the video or audio tracks, select the appropriate Ignore option. When you click OK, the clips in your storyboard are instantly assembled into a sequence according to the options you specified.

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Adobe Premiere Pro Help Tutorials

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Animating an Adobe Photoshop File

You can make sophisticated compositions in Adobe® Premiere® Pro by adding motion graphics to your video clips. Import multilayered graphics from Adobe manipulate their scale, skew, and position. Every track is a compositing track that includes an alpha channel so that transparency is built in. Just add layers, adjust, and go!

1. Import Adobe Photoshop files.

To take full advantage of new compositing capabilities in Adobe Premiere Pro, use Photoshop files with transparent backgrounds, or add an alpha channel to an existing Photoshop file. For example, you can create a logo on a single, transparent layer to animate over video. (For instructions, see Adobe Photoshop Help.) Import the Photoshop file as footage with merged layers and then add it to the topmost track in the Timeline window. Add video clips to the lower tracks. Use the rate stretch tool in the Timeline window to adjust the duration of the graphic to around five seconds.

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2. Optimize your work area to use effects.

Adobe Premiere Pro uses effects to animate layers and provides a workspace setting designed specifically for this task. Choose Window > Workspace > Effects to open the Effect Controls window, docked in the Monitor window. Click the tab to view its contents.

3. Set keyframes for the Motion effect.

To animate clips, use the Motion effect. This effect allows you to adjust the position, scale, and rotation properties of a clip. Because these properties are intrinsic characteristics of a clip, they are built into every clip. As such, the Motion, Opacity, and Volume effects appear in the Effect Controls window whenever you select a clip in the Timeline window. To view these effects, select the Photoshop file in the Timeline window. To make Motion properties vary over a specific duration, you must set at least two keyframes for each property. Adobe Premiere Pro interpolates values between these keyframes. Expand the Motion effect in the Effect Controls window and click the stopwatch for each property to establish starting keyframes.

4. Adjust the clip handles.

The easiest way to animate scale and position is by directly manipulating clip handles in the Program view of the Monitor window. To activate clip handles, select the Motion effect in the Effect Controls window. Handles appear around the edges of the image and an anchor point appears at its center. All adjustments are calculated around the anchor point.

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Next, position the selection tool on the image in the Program view. To adjust scale or

® Photoshop® and

rotation, position the selection tool over a handle and drag when the rotation or scale cursor appears. To adjust position, place the selection tool anywhere on the clip (except on a clip handle) and drag. Use a combination of adjustments to set the graphic’s starting position.

5. Animate the graphic.

In the Effect Controls window, move the current-time indicator to the end of the timeline. When you adjust the Photoshop file in the Program view, Adobe Premiere Pro automatically creates new keyframes for each property value that you change. Change the Photoshop file’s position, scale, and angle in the Program view, using the area in and around the video frame. To see the entire video frame and work area, select a setting such as 25% for the View Zoom Level in the Program view. When you reposition the graphic, a dotted motion path appears in the Program view. Each dot represents a frame in the timeline; X’s represent keyframes.

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6. Adjust the motion path in the Program view.

To create more interesting animations, you can adjust the shape of the motion path and change the interpolation method for your keyframes. In the Effect Controls window, move the current-time indicator to the middle of the timeline and click the Add/Remove Keyframe button to add a new Position keyframe. In the Program view, drag the new keyframe (which appears at the center of the anchor point) so that the motion path forms an angle. Next, change the interpolation methods of the keyframe so that the graphic’s speed varies, simulating realistic movement. Right-click the center keyframe you just created in the Effect Controls window and choose Fast In from the menu that appears to accelerate the clip’s movement as it approaches the keyframe. Right-click the keyframe again and choose Easy Curve Out to slow its movement as it exits the keyframe.

7. Add other effects.

You can add other video effects by dragging them to the clip in the Timeline window from the Effects window. Or you can animate the Opacity effect to make the Photoshop file fade to black by setting two keyframes: one with a value of 100%, the second with a value of 0%.

8. Preview the animation.

When you’ve completed your animation, press the spacebar to preview the results. You can animate any clip using the methods discussed here or you can use the Transform effect to skew the clip in addition to adjusting its position, scale, and angle.

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Apply an Effect to an Entire Nested Sequence

In Adobe® Premiere® Pro, you can nest a sequence within another sequence. When you apply an effect to a nested sequence, the effect applies uniformly to all clips in the sequence, so nesting is a great way to apply an effect to multiple clips at one time. Once you organize each section of a video program into sequences, you can nest them all in a master sequence for your video program.

1. Set up the sequences.

You’ll need to have at least two sequences to use nesting. An Adobe Premiere Pro project contains one sequence by default, so create a second sequence by clicking the New Item button in the Project window and choosing New Sequence.

2. Arrange the clips to which you want to apply an effect.

Choose File > Import, select a folder or one or more clips, and click Open. Drag the imported clips from the Project window to one of the sequences and arrange them as needed.

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You’ll be nesting the sequence containing clips in the other sequence, which is still empty. You’ll use the other sequence as the master sequence for your video program.

3. Add the sequence of clips to the master sequence.

In the Timeline window, click the tab for your master sequence to bring it to the front. Then, in the Project window, drag the icon for the sequence containing clips to the master sequence in the timeline.

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4. Apply the effect.

Choose Window > Effects, locate the effect you want to apply, and drag it to the nested sequence in your master sequence.

5. Preview the effect.

Play back your master sequence. The effect is applied uniformly to all clips in the nested sequence. If you play back the nested sequence, you won’t see the effect applied, because it is applied within the sequence where it’s nested.

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Create Rolling Multicolumn Titles

Give the performers and crew in your productions the credits they deserve. By using the tab stop and rolling title features in the Adobe Title Designer in Adobe can easily create professional, rolling multicolumn titles.

1. Set the title to roll.

In Adobe Premiere Pro, choose File > New > Title to open the Adobe Title Designer. From the Title Type menu, choose Roll. If you intend to create rolling or crawling titles, make the appropriate choice before creating the title.

2. Set the title boundaries.

Select the horizontal type tool, and drag in the drawing area to create a text box. If you intend to create a long list of credits, you can drag the box so that it extends outside the visible area. If you do drag the box outside of the visible area, use the scroll bar to return to the top of the boundary.

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3. Display the tab markers.

Choose Title > View > Tab Markers. No tab markers appear yet—you won’t see them until you create tab stops.

4. Create tab stops.

Click the Tab Stops button . You create all tabs in this dialog box, using the ruler (which is marked in increments of points) and the tab markers for placement. To create a tab, click

® Premiere® Pro, you

one of the three buttons in the Tab Stops window. The icons represent, from left to right, left-justified text, centered text, and right-justified text. Then click in the area above the ruler numbers. Note the stop that appears where you click, and note the tab marker that appears in the Adobe Title Designer drawing area. Adjust the location of the tab stop by dragging it along the ruler while following the location of the tab markers. Delete the stop by dragging it off the ruler. (We created one left-justified stop in the center of the text box.) After you create the tab stops, click OK. You can open this dialog box to adjust the tab stops at any time during the process of creating your title.

5. Select a font and font size.

Click the Font Browse button . In the Font Browser dialog box, scroll to find a font you want to use and select it. Click OK. Then, in the Object Styles panel of the Adobe Title Designer window, expand the Properties category. Set a font size by dragging. (To ensure readability, use a font size higher than 14 points.)

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The Font Browser is also a great tool for experimenting with fonts: Click a new font in the list, and the font in the drawing area changes accordingly. Use the Font Browser to sample a variety of fonts instantly.

6. Type your text.

Select the horizontal type tool, click where you want to type the first line of text, and begin typing. After you type the first set of characters, press Tab and type the next set. Keep all the characters on the same line. Usually, text in credits should not wrap; to prevent this, decrease the Font Size value or increase the size of the text box. After you type all the characters for that line, press Enter and repeat for the next line of text. To view text that you type outside the visible area, use the scroll bars to the right of the drawing area. If text extends past the bottom boundary of the text box, you can no longer see it or scroll to see it. To view this hidden text, enlarge the text box by clicking the selection tool and dragging any control point on the text box. Then select the horizontal type tool before continuing to type text.

7. Set Roll/Crawl options.

Click the Roll/Crawl Options button . Make the appropriate selections, or enter the appropriate numbers in this dialog box to regulate the timing of the roll. Select Start Off Screen, End Off Screen, or both, to set the place where the roll begins and ends. Enter a number in the text boxes to set how many frames pass before the roll begins (Pre-Roll), how many frames it takes the roll to progressively ramp up to the project frame rate (Ease-In), how many frames the roll progressively slows down (Ease-Out), or how many frames the title track plays after the title rolls off-screen (Post-Roll). After you specify settings, click OK.

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The Crawl Direction choices in the Roll/Crawl Options dialog box pertain to text you typed in a text box that is longer horizontally than it is vertically. In this instance, text would move left or right across the image, or crawl. If you choose to create a crawling title (not represented here), select one of these options.

8. Preview the roll.

Close the title window and save the title when prompted. The title clip appears in the Project window. Drag the clip to a superimpose track in the Timeline window (Video 2 and

higher). Place the current-time indicator at the beginning of the clip, and press Enter to preview the roll. By default, rolls begin from the bottom and move up through the visible area. To reverse the direction so that the roll begins from the top and moves down, select the clip, choose Clip > Speed/Duration, and then enter a value that is the negative of the displayed value. For example, if the speed value is 100%, enter –100%.

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9. Experiment with the settings.

Double-click the title clip to return to the Adobe Title Designer. Use the Font Browser or the Font Size Object Style to adjust the characters. You may need to resize the text box to accommodate the changes. You can also change the Roll/Crawl options to tweak the roll timing.You can also create other object styles for the fonts, such as shadows, textures, and sheens. Each of these adjustments may require additional resizing of the text box.

Burning DVDs in Adobe Premiere Pro

You can now burn your projects directly to DVD from the Timeline window in Adobe DVD-R or DVD+R drive to create high-quality movies that you can play on most any commercial DVD player. If you have Adobe projects from Adobe Premiere Pro to add extra features, such as interactive menus.

1. Open a project.

In Adobe Premiere Pro, open an existing project. Make sure all clips in the project have the same frame rate: 29.97 fps for NTSC, or 25 fps for PAL. Projects that use DV presets and clips are best suited for DVD because they all use either 4:3 or 16:9 aspect ratios. However, if your project uses different settings, the DVD exporter resizes clips automatically. For best results, use audio clips with sample rates of 16 or 24 bits, and 48 kHz or 96 kHz.

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2. Set sequence markers to create chapters.

To navigate to various points in your movie, place sequence markers at strategic points in the Timeline window, such as the beginning of each new scene. To add numbered or unnumbered markers, choose Marker > Set Sequence marker. Set markers no closer than 15 frames apart. Each marker serves as a chapter that you can navigate to by pressing the Chapter buttons on your DVD remote control.

3. Add chapter information to markers.

If you want to add titles, buttons, and other graphic elements to your DVD, you can import your sequence in Adobe Encore DVD or another DVD authoring application. Adobe Premiere Pro allows you to create DVD-ready files in either Video For Windows format (.AVI) by exporting sequences as movies or in MPEG-2 format (.M2V) by exporting your sequences to the Adobe Media Encoder.

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4. Define the length of the DVD movie.

Adobe Premiere Pro exports the entire timeline to DVD by default. To prevent the project from exceeding the DVD’s capacity, define the area of the timeline you want to export by

® Premiere® Pro if you have a compatible DVD burner on your computer. Use your

® EncoreTM DVD, you can import DVD-ready

dragging the work area bar.

5. Select your DVD burner.

When your project is ready for export, place an unused DVD disc in the DVD drive and choose File > Export > Export To DVD. In the Export to DVD dialog box, name your DVD disk and select the Chapter Markers At Timeline Markers option. Next, select DVD Burner on the left, and choose your DVD Burner from the list. Make sure that the burner status indicates that the DVD burner is on the system, and then choose a recording option.

6. Select your encoding settings.

Select Encoding from the list to view the DVD encoding presets from the pop-up menu. Choose a setting based on the length of your sequence. If your sequence is feature length (90–130 minutes), choose a setting with “4Mb” in it. If your sequence is under 90 minutes, choose a setting with “7Mb” in it. To let Adobe Premiere Pro determine the best compression for your content, choose a variable bit rate (VBR) setting over a constant bit rate (CBR) setting.

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7. Burn the DVD.

Once you’ve selected all your settings, click the Record button to start burning the DVD. If you receive a message indicating that the required disc space is higher than the DVD disc's capacity, choose a lower-quality encoding preset or shorten the export range of your timeline and then try burning the DVD.

8. Play your movie.

When your DVD burner is done recording, play it on the DVD player in your computer or on a standard DVD player to check the quality. For a wider range of options, you can export your projects to Adobe Encore DVD, where you can add titles, buttons, and multiple audio tracks to your DVDs.

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Adobe Premiere Pro Help Working with Projects

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Working with Projects

About projects

A project is a single Adobe Premiere Pro file that contains video sequences and references to the media associated with the sequences. A project also stores information about sequences and media, such as settings for media capture, transitions, and audio mixing. Within a single project file, you can edit individual segments as separate sequences, and then combine the segments into a finished program by nesting them in a longer sequence. Similarly, you can store multiple variations of a sequence in the same project. You can organize a project’s media and sequences using bins, which work like the folders in Windows Explorer.

Starting a new 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 represents the specifications of your original media. For example, if you shot footage on DV, use the 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. You can customize the project settings (General, Capture, Video Rendering, and Default Sequence settings). However, it’s usually not necessary to do this because most workflows are addressed by the presets in the New Project dialog box. Capture cards certified as compatible with Adobe Premiere Pro may install their own optimized presets when you install the software that comes with the card. If no preset is appropriate for your workflow, see “Working with windows in Adobe Premiere Pro” on page 44.

Note: The project settings must be correct when you create the project file. Once a project is created, some project settings are locked, such as the timebase. This prevents unwanted inconsistencies that could result from changing project settings later.

To start a new project: 1 Do one of the following:

• If Adobe Premiere Pro is closed, start Adobe Premiere Pro.

• If Adobe Premiere Pro is open but no project is open, click New Project.

• If an Adobe Premiere Pro project is already open, choose File > New Project.

2 When the New Project dialog box appears, do one of the following:

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

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

environment, click Custom, and then select your specific project settings. See “Creating project presets” on page 61.

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Adobe Premiere Pro Help Working with Projects

Using Help | Contents | Index Back 41 3 For Location, specify where you want to store the project on disk. 4 For Name, 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 later may require moving associated files also. To change default locations of captured files, preview files, and conformed audio, choose Edit > Preferences > Scratch Disks.

Opening a project

Adobe Premiere Pro can open project files created using Adobe Premiere Pro or Adobe Premiere 6.5 or later on Windows or Mac OS. You can open only one project at a time. If you want to transfer the contents of one project into another, import it. See “Importing another project” on page 85.

To open an existing Adobe Premiere Pro project:

Do one of the following:

• If Adobe Premiere Pro is closed, double-click the project file on the desktop.

• If Adobe Premiere Pro is open but no project is open, click Open Project, locate and

select the file, and then click Open. You can also click the project name in the Recent Projects list if the project name is in the list.

• If Adobe Premiere Pro is open and a project is open, choose File > Open, locate and

select the file, and then click Open. You can also choose the project name from the File > Open Recent Projects submenu if the project name is on the menu. Adobe Premiere Pro doesn’t store original source files in the project—it stores only a reference to each source file based on its filename and location at the time you imported

it. If you later move, rename, or delete a source file, Adobe Premiere Pro is unable to find it the next time you open the project. In this case, Adobe Premiere Pro displays the Locate File dialog box. You can resolve this situation by selecting one of the following options: Display Only Exact Name Matches Displays only the files that match the name of the missing file when the project was last closed. If you know that the filename has changed, deselect this option. Select Replaces the missing file if you first locate and select the original file or its replacement.

Find Starts the Windows XP Search feature. Offline Replaces the missing file with an offline file, a blank placeholder that preserves all

references to the missing file throughout the project until you relink the offline file to the original file.

Offline All Replaces all missing files with offline files, without asking you for confirmation. Skip Removes all references to the missing file throughout the project. All instances of

the clip disappear from the Project and Timeline windows.

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Adobe Premiere Pro Help Working with Projects

Using Help | Contents | Index Back 42 Skip All Removes all references to all missing files throughout the project, without asking

you for confirmation.

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.

When you want to replace an offline file after the project is open, you don’t have to close the project and then open it again. Instead, use the Link Media command. For more information, see “Using offline files” on page 87.

Note: Because a clip is only a reference to its source file, 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 if you do not plan to edit the project or use the source files again.

Saving a project manually or automatically

Saving a project saves your editing decisions, references to source files, and the most recent arrangement of windows. Protect your work by saving often. If you prefer, Adobe Premiere Pro can automatically save your project at a specified interval. For example, you can set Adobe Premiere Pro to save a copy of your project every 15 minutes, producing a series of files that represent the state of your project at each interval. Automatic saving serves as an alternative to the Undo command, depending on how much the project changes between each save. Because project files are quite small compared to source video files, archiving many iterations of a project consumes relatively little disk space. Adobe recommends saving project files to the same drive as your application. Archived files are saved in the folder [current user]/My Documents/Adobe/Premiere Pro/7.0/ProjectArchive. For information about other ways of returning to earlier versions of a project, see “Correcting mistakes” on page 44.

Note: Adobe Premiere Pro may ask if you want to save a project even though you haven’t edited any sequences. This occurs because other attributes of the project may have changed since the project was opened. Adobe recommends that you save changes when

asked.

For information about specifying where Adobe Premiere Pro stores associated project files, such as captured video and audio, video and audio previews, and conformed audio files, see “Using scratch disks” on page 57.

To save a project:

Do one of the following:

• Choose File > Save to save the currently open project.

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

As, specify a location and filename, and click Save.

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

Save a Copy, specify a location and filename, and click Save.

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.

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Adobe Premiere Pro Help Working with Projects

Using Help | Contents | Index Back 43 To automatically save a project or series of projects: 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 after which Adobe

Premiere Pro will save the project.

• Type a number for the Maximum Project Versions to specify how many versions of each

project file you want to save. For example, if you type 5, Adobe Premiere Pro saves five versions of each project you open.

To open a project file created by the Auto Save preference: 1 Close the project if one is open. 2 Choose File > Open. 3 Locate and open the file in the folder My Documents/Adobe/Adobe Premiere Pro/7.0

Adobe Premiere Pro Auto-Save. (If no files are available, the Auto Save preference may be turned off.)

Correcting mistakes

If you change your mind or make a mistake, Adobe Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling a window.

To correct mistakes:

Do one of the following:

• To undo the most recent change, choose Edit > Undo. (You can sequentially undo any

recent changes made to the project in any Adobe Premiere Pro window. The number of changes is limited only by available memory.)

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

the History palette. See “Using the History palette” on page 54.

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

Revert.

• To undo changes made before the last time you saved a project, try opening a previous

version of your project in 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 degree

to which you can go back depends on the Auto Save preference settings. See “Saving a project manually or automatically” on page 43.

• 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 window.

Working with windows in Adobe Premiere Pro

Three named windows form the main work area in Adobe Premiere Pro:

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Adobe Premiere Pro Help Working with Projects

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• The Project window is where you import, organize, and store references to clips. It lists

all source clips that you import into a project, though you don’t have to use every clip you import. The Project window is also where you organize batch lists of offline files to be captured and where clips are listed after you capture them.

• The Monitor window can include the Source and Program views. Use the Source view to

see an individual video clip and the Program view to see the current state of the video program being edited in the timeline. You can also add the Effect Controls window as a tab in the Source view.

• The Timeline window provides a schematic view of your program, including all

sequences, video, audio, and superimposed video tracks. Changes you make in this window appear in the Program view. Adobe Premiere Pro also provides specialized windows for tasks such as capturing video (see “Using the Capture window” on page 64), creating titles (see “Setting up a new title” on page 194), applying and controlling effects (see “About the Effect Controls window” on page 237), and mixing audio (see “Working with the Audio Mixer window” on page 173). When you exit Adobe Premiere Pro, the positions of windows and palettes are saved with the project file. In addition, you can create and save named window layouts as a workspace available to any project. (See “Using workspaces” on page 45.)

Using window and palette menus

In Adobe Premiere Pro, most windows and palettes include menus that appear by clicking a button. In addition, all windows have context menus, the content of which depends on the current task or mode. The commands found in window menus, palette menus, and context menus are specific to individual windows or palettes.

To open window and palette menus:

Click the Menu button near the upper right corner of the window or palette.

To open window context menus:

Right-click in the window.

Using tabs in windows

Some Adobe Premiere Pro windows contain tabs that you can click to view the contents in that window. These tabs can also be dragged away, forming separate windows. In Adobe Premiere Pro, you can combine tabs in the following ways:

• The Monitor, Timeline, and Audio Mixer windows contain tabs that represent multiple

sequences. Clicking a tab activates that tab’s sequence in all three windows. The Timeline window tabs representing multiple sequences can be dragged away to form separate Timeline windows for each sequence.

• The History and Info palettes can be combined as a group of tabs.

• The Effect Controls window can be displayed as a tab within the Project window or

within the Source view of the Program window.

Use the following techniques to reorganize windows using tabs:

• To rearrange and separate a group of tabs, drag the tab for that window.

• To group a tab with another tab or window, drag its tab to another window. Note that

some tabs can be grouped only with certain other tabs, as noted above.

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• If a window contains more tabs than Adobe Premiere Pro can display at once, drag the

slider bar that appears above the tabs.

Using workspaces

Adobe Premiere Pro comes with preset window arrangements that let you reconfigure the windows for specific tasks such as editing effects or audio. You can create and save custom window layouts and apply them to any project. Saving a workspace preserves the location of the Project, Monitor, Timeline, Effects, Effect Controls, and Audio Mixer windows.

To use a workspace:

Choose Window > Workspace, and choose a workspace.

To save a custom workspace: 1 Arrange and size windows the way you want. 2 Choose Window > Workspace > Save Workspace. 3 Type a name for the workspace, and click Save. To delete a custom workspace:

Choose Window > Workspace > Delete Workspace, choose a name, and click Delete.

Adjusting user interface brightness

You can adjust the brightness of the background color in Adobe Premiere Pro windows and palettes. For example, you may prefer to lower the brightness when working in a darkened editing suite or when performing color corrections.

To adjust the brightness of window and palette backgrounds:

Choose Edit > Preferences > General, and specify a value for User Interface Brightness. To minimize the visual impact of window elements, right-click the Windows desktop and choose Properties, and customize options in the Appearance tab in the Display Properties for Windows. For example, use the Windows Classic style or reduce the font size of title bars (see Windows online Help).

Viewing clip information in the Project window

At the top of a Project window is the thumbnail viewer, which you can use to preview individual clips. 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.

To view a selected clip’s information:

Do any of the following:

• Examine the thumbnail viewer in the upper left corner of the Project window. If you

select multiple clips, the thumbnail viewer indicates how many clips are selected.

• Switch to List view, if necessary, and expand or scroll horizontally to view columns.

Some columns may be hidden; see “Using List view columns” on page 51.

• Choose File > Get Properties For > Selection.

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Using Help | Contents | Index Back 46 To play back a clip in the Project window:

1 Select the clip. 2 Press the Play button on the thumbnail viewer. The Play button becomes a Stop

button. Press Stop to stop playback. (Playing the clip in the thumbnail viewer does not affect Monitor window views.)

To designate a clip frame as a poster frame: 1 Select the clip in a Project window. 2 Press the Play button or drag the play slider on the thumbnail viewer in the upper left

corner of the Project window 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 from the context menu.

Naming, finding, and deleting Project window items

Use the Project window tools to rename, find, and delete items. All media in your project exist on your hard disk as files stored separately from the project—only a reference to each file is added to the Project window in Adobe Premiere Pro. Whenever you rename, edit, or delete a clip in Adobe Premiere Pro, the original file and filename remain untouched on your hard disk.

Note: When you use the Project > Unlink Media command, you have the option of deleting the actual source file along with its reference in the project. See “Using offline files” on page 87.

To rename a clip: 1 Select the clip, and choose Clip > Rename. 2 Type the new name, and press Enter.

You can also rename a selected clip by clicking its name once to select the text, typing the new name, and pressing Enter. In addition, the Rename command is also available when you right-click a clip.

To manage project items:

Do any of the following:

• To rename an original source file on disk, exit Adobe Premiere Pro and rename the file

on the Windows desktop. The next time you open the project, Adobe Premiere Pro asks you to locate the file (see “Opening a project” on page 41).

• To delete an item from the Project window, select the item and press the Delete key.

• To delete all project items that aren’t used in sequences, sort the Project window list

view by the Video Usage or Audio Usage columns to identify unused clips; then select and delete them.

Note: Because Adobe Premiere Pro doesn’t store actual media files in the project, deleting a clip from a project removes all of its instances from sequence but does not delete the clip’s original media file from your hard disk.

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• To find any item in a project or folder, based on the contents of any column in List view,

choose Edit > Find or click the Find button , specify options, and click Find.

Using source clips, clip instances, and duplicate clips

Clips can be used as source clips, clip instances, or duplicate clips. All types of clips can be edited in sequences in the same way. The differences between clip types are as follows: Source clip The clip originally imported into the Project window. It is listed in the Project window only once by default. If you delete a source clip from the Project window, all of its instances are also deleted.

Clip instance A dependent reference to a source clip, used in a sequence. Each time you add a clip to a sequence, you create another instance of the clip. A clip instance uses the name and source file reference used by its source clip; however, the name of a clip instance is not updated if you change the name of its source clip. While clip instances are not listed in the Project window, they are differentiated in the Source view menu if you open instances there. The Source view menu lists instances by name, sequence name, and In point. Duplicate clip An independent copy of a source clip, which you create manually using the Edit > Duplicate command. Unlike a clip instance, a duplicate clip maintains its own reference to the original clip’s source media file on disk and exists as an additional clip in the Project window. Also, a duplicate clip is not deleted when you delete its original. Master and duplicate clips can be renamed independently. (See “Naming, finding, and deleting Project window items” on page 47.)

To create a duplicate clip: 1 In the Project window, select a clip, and choose Edit > Duplicate. 2 To rename the duplicate clip, select it, choose Clip > Rename, and type a new name for

the clip. You can also create a duplicate clip by copying and pasting it in the Project window (or its folders), by Ctrl-dragging a clip in the Project window, or by dragging a clip from the Source view to the Project window.

Using bins

The Project window can include bins, which you can use to organize project contents in much the same way as folders in Windows Explorer. Bins can contain media, 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 media separately.

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• To organize media types, such as DV captures, Adobe Photoshop still images, and audio

files.

Project window

A. Close Project B. Thumbnail viewer C. Set poster frame D. Play thumbnail E. Bins F. Clip G. Project window menu H. List view I. Icon view J. Automate to Sequence K. Find L. New Bin M. New Item N. Delete Selected Items

To add a bin:

Click the New Bin button at the bottom of the Project window.

To delete one or more bins:

Select the bins and click the Delete icon at the bottom of the Project window. If you click the New Bin button multiple times in a row, each new bin is nested inside the previous new bin.

To move an item into a bin:

Drag the item to the Bin icon. You can move bins into other bins to nest them.

To display the contents of a bin:

Do one of the following;

• In List view, click the triangle beside the Bin icon to expand the bin.

• Double-click the bin.

• Click the Parent Bin button in the Project window to show the contents of an

enclosing (parent) bin when you’re viewing only the contents of a nested bin. You can continue to click this button until the top-level contents of the Project window appear.

D B C F G E A J K L M N I H

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Using libraries from Adobe Premiere 6.5 or earlier

Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects. A library is a separate file apart from any project. Although Adobe Premiere Pro doesn’t directly support libraries, you can open a library. The library converts to a bin when you open it as an Adobe Premiere Pro project. To store a set of clips so that they are available for other projects, simply save a project that contains the clips, and import that project into other projects (see “Importing another project” on page 85).

To import a library: 1 Choose File > Import. 2 Locate and select the library (.PLB) file, and then click Open.

Customizing the Project window display

Each clip appears in the Project window with its clip name and detailed information about the clip. You can view and sort clips in List view or Icon view, and you can customize the information displayed in List view.

Project window views

A. List view B. Icon view

To change the Project window view:

Do one of the following:

• Click the List View button or the Icon View button at the bottom of the window.

• Choose View > List or View > Icon from the Project window 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. See “Adding clips from the Project window automatically” on page 134.

B A

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Using Help | Contents | Index Back 50 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 window hierarchy. To reverse the sort order, click the column heading again.

Note: To customize the columns in List view, see “Using List view columns” on page 51.

To customize general display options for the Project window:

Choose any of the following in the Project window menu:

• Choose View > Preview Area to hide or show the thumbnail viewer and clip information.

• Choose Thumbnails > [command] to hide or set the size of thumbnails.

• Choose Clean Up to remove empty space between items in Icon view and arrange them

within the width of the Project window.

Using List view columns

Use the Project window’s List view to quickly evaluate, locate, or organize clips based on

specific properties.

To change the width of a list view column:

Position the mouse over a dividing line between column headings until the Column Resize icon appears; then drag horizontally.

To rearrange list view columns:

Drag a column heading horizontally. You cannot move the Name column.

To add a column: 1 Choose Edit Columns from the Project window menu. 2 Select a column name (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:

Choose Edit Columns from the Project window 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 rearrange columns, select a column name and click Move Up or Move Down. You can

also rearrange columns by dragging them horizontally in the Project Window.

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.

The following fields are available in the List view:

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Using Help | Contents | Index Back 51 Name By default, displays the clip name on disk. You can change the name the clip uses

inside the project. You cannot remove the Name field. See “Naming, finding, and deleting Project window items” on page 47.

Label Color that helps identify and associate clips. See “Using labels” on page 53. Media Type The kind of media, such as Movie or Still Image. Media Start The timecode when capture started. Media End The timecode when capture ended. Media Duration Length of the captured media on disk, expressed in the currently

specified Time Display option (see “Specifying General settings” on page 59).

Note: In Adobe Premiere Pro, all durations in any window include the frames specified by the In point and Out point. For example, setting the In point and Out point to the same frame results in a duration of one frame.

Video In Point The timecode of the In point as set in the Source or Project window. Video Out Point The timecode of the Out point as set in the Source or Project window. Video Duration The duration of the clip as defined by the Video In point and Out point

and incorporating any adjustments applied in Adobe Premiere Pro, such as changing the clip speed.

Audio In Point The timecode of the In point as set in the Source or Project window. Audio Out Point The timecode of the Out point as set in the Source or Project window. Audio Duration The duration of the clip 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 clip, and whether an alpha channel is present.

Audio Info The audio specifications of the clip. Video Usage The number of times the video component of a clip is used in the project’s

sequences. Audio Usage The number of times the audio component of a clip is used in the project’s sequences. Tape Name Text entered when the clip was logged during batch capture, if it was captured using Adobe Premiere Pro or an earlier version of Adobe Premiere. Description Text entered when the clip was logged during batch capture, if it was captured using Adobe Premiere Pro or an earlier version of Adobe Premiere.

Comment Text intended for identification and sorting purposes. Log Note Text that was entered using the Log Note option when a clip was captured

using the Capture window.

File Path Location of the file on disk, expressed as a folder path. Capture Settings Whether a file has capture settings assigned in Adobe Premiere Pro.

For example, to be eligible for batch capture, clips must have capture settings. Choose a command from the Clip > Capture Settings submenu to edit capture settings for a selected clip.

Status Whether a clip is online or offline. If a clip is offline, this also indicates why. Using Help | Contents | Index Back 52

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Using Help | Contents | Index Back 52 Offline Properties Whether the source of an offline clip contains video, audio, or both. Scene Text that was entered using the Capture window’s Scene option when capturing

video using Adobe Premiere Pro. Shot/Take Text that was entered using the Capture window’s Shot/Take option when capturing video using Adobe Premiere Pro.

Client Text intended for the name of the client. Compressor The compressor used by the clip. Not applicable to sequences. Good Text intended to indicate preferred clips.

Using labels

Labels are colors that help you identify and associate clips. You assign and view labels in the Project window. Label colors mark clips in the Project window’s Label column and in the Timeline window.

To assign a label to a clip: 1 In the Project window, select a clip. 2 Choose Edit > Label, and choose a color. To select all clips using the same label: 1 Select a clip that uses the label. 2 Choose Edit > Label > Select Label Group. To edit label names or colors: 1 Choose Edit > Preferences > Label Colors. 2 Edit label names, or click a color swatch to edit a color. To set default labels for a media type: 1 Choose Edit > Preferences > Label Defaults. 2 For any media type in the panel, select a label color.

Note: Label defaults affect clips you add to the Project window from the time you change the defaults; the command doesn’t change label colors for clips already in the Project window. To change label colors for clips already in the Project window, use the Edit > Preferences > Label Colors command.

Working with palettes

Adobe Premiere Pro includes the toolbox, Info and History palettes. When displayed, palettes always appear on top of all windows. The Info palette displays information about the item selected in the Project or Timeline windows, or in the Source view’s clip menu. The History palette lets you navigate among the available levels of undo. You can display, hide, or recombine palettes as you work. You can display the toolbox vertically or horizontally. You can also adjust the brightness of the background color in palettes and windows. (See “Adjusting user interface brightness” on page 46.)

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Changing palette display

You can change the display of palettes so that they are arranged effectively with windows.

To show and hide palettes:

Do one of the following:

• To show a palette, choose its name from the Window menu or click its tab if visible.

• To hide a palette, click the close box on its tab.

• To hide or show all open palettes, press the Tab key.

To group the Info and History palettes:

Drag one palette’s tab to another.

To separate a palette:

Drag a palette tab to another location.

To display the toolbox vertically or horizontally:

Right-click the background color of the toolbox (not an individual tool) and select an orientation option. If you have more than one monitor connected to your system and if your system supports a multiple-monitor desktop, you can drag palettes to any monitor.

Using the Info palette

The Info palette displays information about a selected item. For clips, the Info palette displays information such as duration, In point, and Out point. The information displayed may vary depending on factors such as the media type and the current window. For example, an empty space in the timeline, a rectangle in the Title window, and a clip in the Project window display information unique to each item. In the Info palette, the Video line indicates the frame rate, dimensions, and pixel aspect ratio, in that order. The Audio line indicates the sample rate, bit depth, and channels, in that order.

Using the History palette

Use the History palette 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 palette. You can modify the project from the state you select. History states aren’t available for actions within the Capture and Adobe Title Designer windows. The following guidelines can help you with the History palette:

• Program-wide changes, such as changes to palettes, windows, and preferences, are not

changes to the project itself and so are not added to the History palette.

• Once you close and reopen the project, the previous states are no longer available in

the History palette.

• Choosing the Revert command deletes all the states that existed since the last save.

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

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• Each state is listed with the name of the tool or command used to change the project as

well as an icon representing the tool or command. Some actions generate a state for each window affected by the action, such as the Adobe Title Designer. Actions you perform in such a window are treated as a single state in the History palette.

• 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.

To display the History palette:

Choose Window > Show History.

To select a state:

Click the name of the state in the History palette.

To move around in the History palette:

Do any of the following:

• Drag the slider or the scroll bar in the palette.

• Choose Step Forward or Step Backward in the History palette menu.

To delete one project state:

Select the state, and do one of the following:

• Choose Delete in the History palette menu.

• Click the Delete icon , and then click Yes.

• Alt-click the Delete icon .

To clear all states from the History palette:

Choose Clear History in the History palette menu.

Using keyboard shortcuts

Because many commands and buttons have keyboard equivalents, you can edit a video program with minimal use of the mouse. You can also create or edit keyboard shortcuts.

Using the default keyboard shortcuts

Adobe Premiere Pro provides a set of keyboard shortcuts. You can view and modify them by using the Edit > Keyboard Customization command; see “Customizing keyboard shortcuts” on page 56. In the Keyboard Customization dialog box, the default shortcut set is called Adobe Premiere Pro Factory Defaults. A full list of the factory default keyboard shortcuts is available in the Keyboard Shortcuts Appendix.

To find the keyboard shortcut for a tool, button, or menu command:

Do one of the following:

• For a tool or button, hold the pointer over the tool or button until its tool tip appears. If

available, the keyboard shortcut appears in the tool tip after the tool description.

• For menu commands, look for the keyboard shortcut at the right of the command.

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• For keyboard shortcuts not shown in tool tips or on menus, see the Shortcuts Appendix,

or choose Edit > Keyboard Customization. The Keyboard Customization dialog box is also a good place to look if you suspect that shortcuts might have been changed (customized) by a user.

Customizing keyboard shortcuts

In addition to using the standard set of keyboard shortcuts, you can assign your own custom shortcuts to nearly any menu command, button, or tool. By customizing shortcuts, you can assign shortcuts to commands that don’t currently have shortcuts, reassign shortcuts from commands you rarely use to commands you use often, or set shortcuts to match other software you use. If other sets are available, you can choose them from the

Set pop-up menu in the Keyboard Customization dialog box. You can save different sets of shortcuts and restore the default settings.

To create custom keyboard shortcuts: 1 Choose Edit > Keyboard Customization. 2 In the Keyboard Shortcuts dialog box, choose an option from the pop-up menu:

• Application displays commands found in the menu bar, organized by category.

• Windows displays commands associated with window buttons and pop-up menus.

• Tools displays a list of tool icons.

3 In the Command column, view the command for which you want to create a shortcut. If necessary, click the triangle next to the name of a category to reveal the commands it includes.

4 Click in the item’s shortcut field to select it. 5 Type the shortcut you want to use for the item. If the shortcut is already in use, you are

asked to either replace the existing shortcut or cancel. 6 To erase a shortcut so you can enter a different one, click Undo. Click Redo to restore the previously entered shortcut. 7 Repeat the procedure to enter as many shortcuts as you want. When you’re finished, click Save As, type a name for your Key Set, and click Save.

Note: Some commands are reserved by the operating system and cannot be reassigned to Adobe Premiere Pro. Also, you cannot assign the + (plus) and – (minus) keys on the numeric keypad because they are necessary for entering relative timecode values. You can assign the plus and minus keys on the keyboard, however.

To remove a shortcut:

In the Keyboard Shortcuts dialog box, select the shortcut you want to remove, and click Clear.

To remove a set of shortcuts:

In the Keyboard Shortcuts dialog box, select the key set you want to remove from the Set pop-up menu and click Delete. When asked, confirm your choice by clicking Delete.

To switch to a different set of shortcuts:

Choose Edit > Keyboard Customization, and choose the set of shortcuts you want to use from the Set pop-up menu.

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Using scratch disks

When you edit a project, Adobe Premiere Pro uses disk space to store files required by your project, such as captured video and audio, conformed audio, and preview files that you create manually or that are created automatically when exporting to certain formats. 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 files are stored where you save the project. The scratch disk space required increases as sequences become longer or more complex. If your system has access to multiple disks, you can use the Edit > Preferences > Scratch Disks command to specify which disks Adobe Premiere Pro uses for these files. This is best done before you

begin a project.

Types of scratch disks

While performance can be enhanced by setting each scratch disk type to a different disk, you can also specify folders on the same disk. The following scratch disk options are available in the Edit > Preferences > Scratch Disks command: Captured Video Folder or disk where Adobe Premiere Pro stores video files that you capture using the Capture window. Captured Audio Folder or disk where Adobe Premiere Pro stores audio files that you capture using the Capture window. Video Previews Files created when you use the Sequence > Render Work Area command, export to a movie file, or export to a DV 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, the effects are rendered at full quality in the preview file. Conformed Audio Imported audio converted to Adobe Premiere Pro specifications for consistent high-quality playback as you edit. (See “Conforming audio” on page 192.)

Maximizing scratch disk performance

If your computer has only one hard disk, consider leaving all scratch disk options at their default settings. For maximum performance, follow these guidelines:

• 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 your fastest hard disks for capturing media 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

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associated with them. If scratch disk files are stored on removable media and the media is 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.

Setting up scratch disks

You set up scratch disks in the Scratch Disk panel of the Preferences dialog box. Before changing scratch disk settings, you can verify the amount of free disk space on the selected volume by looking in the box to the right of the path. If the path is too long to read, position the pointer over the path name, and the full path appears in a tool tip.

To specify scratch disks: 1 Choose Edit > Preferences > Scratch Disks. 2 For each scratch disk type, specify a disk location for Adobe Premiere Pro to store the

corresponding files (scratch files are stored in a subfolder named after the project).

My Documents Stores scratch files in the My Documents folder. Same as Project Stores scratch files in the same folder where the project is stored.

Custom Indicates that the current path isn’t in the pop-up menu. The current path isn’t

changed until you click Browse to specify any available disk location.

Specifying project settings

When you start a new project, you can review and change project settings by clicking the Custom Settings tab. You should do so only if none of the available presets matches the specifications of your source media. When working in a project, you can review project settings by choosing a command from the Project > Project Settings submenu. Note that some settings can’t be changed after a project is created—verify all project settings before starting a project. 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 (Time Display), and play back video (Timebase). See “Specifying General settings” on page 59. Capture Settings Control how Adobe Premiere Pro transfers video and audio directly from a deck or camera. (Other Project Settings panels do not affect capturing.) The contents of this panel depend on the editing mode. For more information about capture settings, see “Digitizing analog video as DV” on page 94 and “Preparing for DV capture” on page 94. Video Previews Control the frame size, picture quality, compression settings, and aspect ratios that Adobe Premiere Pro uses when you play back video from the Timeline window (the window where you edit your video program). See “Specifying Video Rendering settings” on page 61.

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Using Help | Contents | Index Back 58 Default Sequence Control the number of video tracks and the number and type of audio

tracks for new sequences you create. See “About audio channels and tracks” on page

173.

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 of audio sampling rate, check video and audio edits carefully. While 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.

Specifying General settings

General settings should be set to match the specifications of the most significant source media 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. Choose Project > Project Settings > General and specify the following options: Editing Mode Determines which video method is used to play back sequences and which compression methods appear in the Video Settings panel. The DV Playback and Video For Windows editing modes are installed by default, and the DV Playback editing mode is selected by default. Use the DV mode if you’re working with DV source media; the Video For Windows editing mode can be useful for projects based on analog video or a square-pixel aspect ratio. Manufacturers of video-capture cards or other video hardware may provide plug-in software that adds editing modes for maximum quality and compatibility with their hardware. If the DV Playback editing mode is selected, some video preview settings can’t be changed because they must remain consistent with the DV standard.

Note: The Editing Mode setting should represent the specifications of the source media, not the final output settings. Specify output settings when you export; see “Exporting video as a file” on page 296.

Timebase Specifies the time divisions Adobe Premiere Pro uses to calculate the time position of each edit. In general, choose 24 for editing motion-picture film, 25 for editing PAL (European standard) and SECAM video, and 29.97 for editing NTSC (North American standard) video. Do not confuse timebase with the frame rate of the video you play back or export from sequences, although timebase and frame rate often use the same value. Playback Settings This button is available when you use a DV preset, choose the DV Playback editing mode, or install a plug-in that provides additional playback functions. When you use the DV Playback editing mode, use this option to indicate where you want your previews to play back: on your DV camcorder (or other connected device) or on your desktop. For information on the playback settings available for third-party plug-ins, see the documentation provided by the manufacturer of the plug-in. Frame Size Specifies the dimensions, in pixels, for frames when you play back sequences. In most cases, the frame size for your project should match the frame size of your source media. Don’t change the frame size in order to compensate for slow playback—instead, adjust playback resolution by choosing a different Quality setting from the Project window menu, or adjust the frame size of final output by changing Export settings. Pixel Aspect Ratio Sets the aspect ratio for individual pixels. Choose Square Pixels for analog video, scanned images, and computer-generated graphics, or choose the format used by your source media. If you use a pixel aspect ratio that is different from your video, the video may play back and render with distortion. For more information, see “About aspect ratios” on page 98.

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Using Help | Contents | Index Back 59 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) Specifies the way time appears throughout the project. The time display options correspond to standards for editing video and motion-picture film. For broadcast NTSC video, choose 30 fps Drop-Frame Timecode if that is the time display used by the original video. For video to be played back from the Web or CD-ROM, choose 30 fps Non Drop-Frame Timecode. For PAL and SECAM video, choose 25 fps Timecode. For motion-picture film, choose Feet + Frames 16mm or Feet + Frames 35mm. To count individual frames and audio samples instead of timecode, choose Frames/Samples. Title Safe Area Sets 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 Zones button in the Monitor window. Titles are usually assumed to require a wider safe zone than action. Action Safe Area Sets how much of the frame edge to mark as a safe zone for action so that action isn’t cut off by televisions that zoom the picture slightly to enlarge it. A rectangle marks the action-safe zone when you click the Safe Zones button in the Monitor window. Automatically Scale Imported Media to Project Size Adjusts imported video and still images so that they fit within the frame, if they are larger or smaller than the frame.

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 (audio) Specifies whether audio time display is measured using audio samples or milliseconds. Display Format applies when Audio Units is selected in the Monitor window 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 Time Base, Frame Size, Pixel Aspect Ratio, Fields, and Sample Rate settings.

Specifying Capture settings

If you’re capturing DV source media, you don’t need to change capture settings. 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.

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Specifying Video Rendering settings

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

To specify video rendering settings: 1 Choose Project > Project Settings > Video Previews. 2 Select one of the following options: Compressor Specifies the codec for Adobe Premiere Pro to apply when previewing

sequences. The codecs available depend on the Editing Mode option specified by your preset or selected in the General Settings panel. Click Configure (if available) to set options specific to the selected codec. If you specified an editing mode provided by a manufacturer of a video-capture card or other hardware, see whether the documentation for the hardware recommends a particular codec. Otherwise, consider specifying the same codec as the source clip to preserve quality and to process edits quickly. If you want to play video back through your capture card to an NTSC or PAL monitor, choose the codec specific to your capture card. The codec cannot be configured for DV because it must use the standard DV codec.

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.

Color Depth Indicates the color bit depth or number of colors to include in video played back in sequences. This button 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 Video For Windows editing mode for the Web or for some presentation software. The Palette button

may be available when 256 Colors is chosen, if the selected editing mode and compressor support creating custom palettes. When the button is available, click it and then select either Make Palette From Movie (to derive a color palette from the frames used in the video program) or Load Palette Now (to import a color palette you prepared and saved previously). You can load color palettes stored in the .ACO (Photoshop color swatch), .ACT (Photoshop color palette), or .PAL (Windows palette) format. Optimize Stills Select this option to use still images efficiently in sequences. For example, if a still image has a duration of 2 seconds in a project set to 30 fps, Adobe Premiere Pro creates one 2-second frame instead of 60 frames at 1/30 of a second each. Deselect this option if sequences exhibit playback problems when displaying still images.

Creating project presets

If none of the built-in presets matches your workflow, you can save a customized set of project settings as a preset. This adds it to the list of presets in the Load Preset tab of the Project Settings dialog box so that you can apply your custom preset to new projects. If you want to back up or distribute preset files, you can find them in the Settings subfolder of the Adobe Premiere Pro folder on your hard disk.

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If you have a capture card that is certified for use with Adobe Premiere Pro and it includes presets for capturing from Adobe Premiere Pro, installing the card’s software also installs the presets for you. Manufacturer-supplied preset files are tested to work well with the manufacturer’s hardware, so you should not change the settings in them. For a list of certified capture cards certified for use with Adobe Premiere Pro, see the Adobe Premiere Pro product support page at www.adobe.com/products/premierepro.

To save the custom settings as a preset for use in other projects: 1 In the New Project Settings dialog box, click the Custom tab. 2 Specify settings, and then click Save Preset. 3 In the Save Project Settings dialog box, type a name and description (if desired) and

click OK. 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.

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Capturing and Importing Source Clips

About importing clips

You can import clips from any source—videotapes, motion-picture film, audio, still images—as long as they exist as digital files stored on disk. Media that isn’t on disk, such as videotape, must first be captured to disk. The topics in this section cover how to capture and import clips and describe requirements for converting other media types before they can be used digitally in your project.

Capture checklist

For details about each of the following guidelines, search for these topics.

Be aware of the state of the timecode on your tape. If it’s frame-accurate (such as from a DV camera) and continuous from start to finish, you have maximum flexibility when capturing. If it isn’t continuous, your ability to batch capture and recapture may be limited. If it’s not frame-accurate (such as from a non-DV home camera), you may want to set timecode manually. Connect the DV or analog camcorder or deck to your system. See “Connecting a DV source” on page 93 or “Connecting an analog video source” on page 94. Set up your system for capture. See “Digitizing analog video as DV” on page 94 or “Preparing for DV capture” on page 94. If you use multiple hard drives, set up scratch disks before capturing because Adobe Premiere Pro defaults to the My Documents folder for file storage. See “Using scratch disks” on page 57 or “Preparing for DV capture” on page 94. Capture video using any of the following methods:

• To capture video manually, see “Capturing clips without using device control” on page 71.

• To capture video manually using device control, see “Using device control” on page 67.

• To capture video automatically using device control, see “Batch-capturing video” on page 72.

Capture additional material using any of the following methods:

• To capture audio from an analog source, see “Capturing analog audio” on page 79.

• To import audio from an audio CD or other digital source, see “Importing digital audio” on page 78.

• To import still images, see “Importing clips” on page 81.

• To import animation or sequences, see “Importing an animation or still-image sequence” on page 84.

• To import a project, see “Importing another project” on page 85.

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To use placeholders for missing files, see “Using offline files” on page 87. To evaluate a clip, examine the columns in the List view of the Project window and see “Analyzing clip properties and data rate” on page 89.

Using the Capture window

Use the Capture window to capture DV and analog video and audio clips. This window includes a preview window, which displays video being captured, controls for recording with and without device control, a Settings panel for viewing and editing your current capture settings, and a Logging panel for entering batch capture settings. You can log clips for batch capture only when using device control. In the Capture window, you can specify independent disk locations for captured video and audio clips, and you can specify a bin for storing the project’s references to the captured clips. For convenience, some options available in the Capture window are also available in the Capture window menu. If you already have experience capturing video, see “Logging and capturing for experienced editors” on page 66.

Note: When performing anything other than capturing in Adobe Premiere Pro, close the Capture window. The Capture window assumes primary focus when open, so leaving it open while editing or previewing video disables output to the DV device and may decrease performance.

Capture window

A. Status area B. Preview panel C. Tabs D. Window menu E. Device controls

To open the Capture window:

Choose File > Capture.

E A C B D

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Using Help | Contents | Index Back 65 To hide the tabbed controls on the right side of the window:

Choose Collapse Window from the Capture window menu.

For details about troubleshooting capture, see “Avoiding DV capture problems” on page 96.

Entering timecode values

As you capture and edit video, you’ll enter timecode values many times. For example, you’ll enter timecode values to set In and Out points for clips, and to navigate the timeline. For maximum flexibility, Adobe Premiere Pro provides multiple 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 will be one frame. When entering timecodes, 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 enter timecode:

Do any of the following:

• To set a specific timecode, highlight the timecode, type a new timecode,

then press Enter.

• To adjust the current timecode by dragging, position the mouse over the timecode and

drag horizontally. For example, to set an earlier timecode, drag to the left.

• To adjust the current timecode using a relative value, type the + (plus) or – (minus) sign

along with the number of frames to add or subtract. For example, to subtract 5 frames from the current timecode, highlight the entire timecode, type –5, then press Enter.

Logging and capturing for experienced editors

The Capture window is designed to support interactive clip logging and flexible, efficient batch capture. If you have experience batch-capturing DV clips, this section can help you quickly achieve a productive capture workflow in Adobe Premiere Pro.

Setting up

A batch list of logged clips appears as a list of offline files in the Project window. If you plan to capture many clips, you may want to create bins in the Project window 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. You can capture audio and video to separate drives. Set the locations of new files by choosing Edit > Preferences > Scratch Disks. If you don’t change the defaults, all files captured or created by Adobe Premiere Pro are stored in the My Documents folder for the user who is currently logged into Windows XP.

Logging clips interactively

Use the following tips to log clips using a flexible and interactive process:

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• Log clips by using options in the Logging tab in the Capture window. Adobe Premiere

Pro uses the current data in the Setup and Clip Data sections as defaults for subsequent logged clips, so 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, because Adobe Premiere Pro asks for it

every time you begin a batch capture.

• The Clip Name in the Clip Data section progresses in increments automatically. For

example, if you want to number a series of clips with the clip name “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 Window 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 in a different Description or Scene name. You don’t have to stop the tape as you change settings.

• You can operate the DV device and log clips using the keyboard. See the tool tips for

Capture Window controls, or choose Edit > Keyboard Customization to view or change the shortcuts.

• You must click Log Clip to create a new offline file. This pauses the tape as you confirm

the clip data for the new offline file.

To log clips interactively: 1 Make sure that your DV device is online, then choose File > Capture. You can also open

the Capture window with a keyboard shortcut; the default shortcut is F5. 2 In the Logging tab, enter the settings you want to use as the defaults for Setup and Clip Data.

3 Play the tape. 4 Click Set In or Set Out at any time, even as the tape plays back. 5 When you are satisfied with the In and Out points, click Log Clip, verify the clip data, and

click OK. 6 Repeat steps 3 and 4 as necessary. For detailed information, see “Logging clips as offline files for batch capture” on page 72. You can make slight timecode adjustments by typing relative timecode using the + (plus) or – (minus) signs. For example, if you want to add 5 frames to the end of the Out point, select the entire Out point timecode, type +5, and press Enter.

Batch-capturing tips

When you want to batch-capture a set of logged (offline) clips, simply select them in the Project window and use the File > Batch Capture command, which is also available when you right-click selected offline files. If you organized offline clips into bins, you can batchcapture an entire bin by selecting the bin.

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Adobe Premiere Pro can capture video in the background so that you can perform other tasks during capture. However, be aware that dropped frames may result if you perform a system-intensive task while capturing. The chance of dropped frames is lower on a highperformance system. For detailed information, see “Batch-capturing clips” on page 75. If you require basic information about capturing in Adobe Premiere Pro, see “Capture checklist” on page 63.

Using device control

You can use Adobe Premiere Pro and device control to simplify and automate video capture and to export sequences to tape. Device control lets you precisely control the device and view its source video directly from Adobe Premiere Pro, instead of operating both Adobe Premiere Pro and the controls on the device. With device control, you can use the Capture window to log each clip and then record all logged clips automatically. You can use device control to capture video from or export video to analog or digital video decks or cameras that support device control. Adobe Premiere Pro includes built-in support for DV device control.

Note: Captured clips in Adobe Premiere Pro use two sets of timecodes. Media Start and Media End mark the start and end, respectively, of the untrimmed captured media, and In point and Out point refer to the start and end of the clip frames actually used in a sequence.

For details about timecode, see “Using timecode for efficient capture” on page 89.

Setting up device control equipment

Before setting up device control, make sure that you have a frame-accurate tape deck or camera that supports external device control and a cable that connects the deck to your computer (such as an IEEE 1394 cable). If you are using device control with a non-DV device, you’ll need an Adobe Premiere Pro– compatible plug-in software module that lets you control the device directly from Adobe Premiere Pro and source videotape recorded with timecode. Most DV devices meet this requirement using Adobe Premiere Pro’s built-in DV device control. If you’re using DV, you may be able to capture as soon as the device is recognized by Adobe Premiere Pro. If your device isn’t recognized, you may need to set it up.

Note: The capabilities of device control vary depending on the brand and model of device you’re using. For information, see the documentation that came with your device or with its device-control software.

For details about connecting equipment, see “Connecting a DV source” on page 93 and “Connecting an analog video source” on page 94.

To set up the capture device for device control: 1 Open the Device Control Preferences dialog box by doing one of the following:

• Choose Edit > Preferences > Device Control.

• In the Capture window, click the Settings tab.

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Using Help | Contents | Index Back 68 3 Click Options, and do one of the following:

• If a DV device is connected, select the device brand and device type. If your particular

device is not listed, click Go Online for Device Info.

• If an analog device is connected, the options may vary depending on the Adobe

Premiere Pro plug-in software provided with the capture device. See the documentation for the capture device. 4 In the Device Control Options dialog box, check the status display. If the status is Offline, Adobe Premiere Pro does not see your device and you need to check all your connections and settings. If the status is Detected, Adobe Premiere Pro sees your device but cannot control the tape (possibly because there is no tape inserted). If the status is Online, Adobe Premiere Pro sees your device and can control the tape. Click OK. 5 In the Device Control panel, specify the following options as needed:

• Preroll Time indicates how far before the In point Adobe Premiere Pro winds the tape

before capture. The appropriate value varies depending on the device you are using.

• Timecode Offset indicates the number of quarter frames to adjust the timecode

stamped on the captured video so that it corresponds to the correct frame on the original tape.

Setting up a project to use device control

Device control settings are available when you choose Edit > Preferences > Device Control, or in the Device Control panel at the bottom of the Settings tab in the Capture window. Device control settings apply to the entire project. You may find it more convenient

to set up device control from the Capture window because you can set up additional capture settings, such as capture locations, in the same window.

To set up a project for device control: 1 If you want captured clips to be saved to a specific bin in a project, make sure that the

project is open and the bin exists in the Project window. See “Using bins” on page 48.

2 Choose File > Capture. 3 In the Settings tab, click Edit to verify that the capture settings are appropriate for your

device. 4 If device control has not been set up, choose a device from the Devices menu and click Options to set it up, if necessary. See “Setting up device control equipment” on page 68. If you choose an analog capture device, options vary depending on the device—see the documentation for your device driver. 5 Test the device control buttons to verify that they work and that you see video in the Capture window preview. 6 In the Capture Locations section, 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. 7 Click the Logging tab. In the Setup section, 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 window.

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Using Help | Contents | Index Back 69 8 Enter information into the Logging Data section 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 each time you insert a new tape. The other Logging Data options aren’t required.

Using Capture window device controls

You can use the controls in the Capture window 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 Capture window. You can press the J key to rewind at regular speed, or press J multiple times to increase the rewinding speed. If you press the Fast Forward button when the tape is stopped, the device moves the tape forward at full speed. If you fast forward when the tape is playing or paused, the device moves the tape forward while displaying video in the Capture window. You can press the L key to fast forward the tape at regular speed, or press L multiple times to increase the forwarding speed.

Capture window playback controls A. Next scene B. Set In point C. Set Out point D. Rewind E. Step back F. Play G. Step forward H. Fast forward I. Pause J. Stop K. Record L. Previous scene M. Go To In point N. Go To Out point O. Jog P. Shuttle Q. Slow reverse R. Slow play S. Scene detect

To operate Capture window controls using the keyboard, see the tool tips in the Capture window. You can change the shortcuts using the Edit > Keyboard Customization command.

Performing a capture using device control

When a device and the project are set up properly, you can begin capturing clips using device control. First you mark In and Out points, and then you capture the clip. If you want to mark In and Out points for many clips and have Adobe Premiere Pro capture all of the clips at once, see “Batch-capturing video” on page 72.

To capture an entire tape: 1 Choose File > Capture to open the Capture window. 2 Make sure that your device is online, as indicated above the preview in the Capture

window. If the message “Capture Device Offline” appears there, see “Setting up device control equipment” on page 68. 3 Rewind the entire tape to the beginning.

S R Q P O N M L K J I F C D E G H B A

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Using Help | Contents | Index Back 70 4 Click the Tape button near the bottom of the Logging tab in the Capture window. To mark a clip to be captured using device control: 1 Choose File > Capture to open the Capture window. 2 Make sure that your device is online, as indicated above the preview in the Capture

window. If the message “Capture Device Offline” appears there, see “Setting up device control equipment” on page 68. 3 Use the controls in the Capture window to move to the first frame in the clip you want to capture, and click the Set In button. 4 Use the controls in the Capture window to move to the last frame in the clip, and click the Set Out button.

To move or play in relation to the In and Out points:

Do either of the following:

• To move the tape to the In point, click the Go To In Point button .

• To move the tape to the Out point, click the GoTo Out Point button .

You can also set In and Out points by entering timecode values in the Capture window.

To capture a clip using device control: 1 In the Capture panel of the Logging tab in the Capture window, set the following

options as desired:

• Scene Detect creates separate clips at any scene breaks detected between the In and

Out points (see “Using automatic scene detection” on page 75).

• Handles captures the specified number of frames before the In point and after the Out

point to provide flexibility for editing and transitions. 2 Do one of the following:

• To record a clip from the video as it plays in the Capture window, press the Record

button . This doesn’t require setting In and Out points.

• To capture from the In point to the Out point, click Capture In/Out. Adobe Premiere Pro

automatically moves the tape to the Preroll specified before the In point and captures the clip. If you specified handles, those frames are included during the capture. The captured file appears at the disk location you chose and is listed in the project in the bin you specified (if any) with the name you gave it.

Note: To capture more than one set of In and Out points, see “Batch-capturing video” on page 72.

Capturing clips without using device control

If you do not have a device that can be controlled by Adobe Premiere Pro, you can capture

video manually. You can manually operate both the playback device controls and the Capture window controls in Adobe Premiere Pro.

To capture a clip with a noncontrollable device: 1 Make sure that the deck or camcorder is properly connected to your computer. Using Help | Contents | Index Back 71

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Using Help | Contents | Index Back 71 2 Choose File > Capture. 3 In the Capture window menu, make sure that Record Video and Record Audio are

selected or deselected as needed. 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 Record in the Capture window. 6 When you see the point where you want to stop recording, wait a few seconds to provide room for editing, and then press the Escape (Esc) key to stop recording. 7 When the Save Captured File dialog box appears, enter logging data and click OK. The new file is listed in the Project window and is saved to the disk location specified in the Settings tab in the Capture window.

Batch-capturing video

Adobe Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from an analog or DV device. First you log the clips you want to capture from the tape. The log can be created either by logging clips visually using device control or by typing In and Out points manually. In Adobe Premiere Pro, logged clips appear as a set of offline (placeholder) clips in the Project window or in a bin. In the Project window list view, the Capture Settings column indicates that a clip has specific capture settings assigned to it. If none is assigned, the clip uses the default capture settings. You can capture any number of logged, offline clips by selecting them and choosing the File > Batch Capture command. When you begin capture, Adobe Premiere Pro automatically resorts entries by tape name and timecode In points so that they’re captured as efficiently as possible.

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To save time by reducing the number of clips you log manually, consider using the Scene Detect feature. Scene Detect automatically captures a separate clip whenever a break is detected in the time stamp on the tape, such as when the camera’s pause button was pressed during shooting. See “Using automatic scene detection” on page 75.

Note: Batch capture is not recommended for the first and last 30 seconds of your tape because of possible timecode and seeking issues. Instead, capture these sections manually.

Preparing for batch capture

A. Clips selected for capture B. Capture Settings option

Logging clips as offline files for batch capture

Specify which scenes you want to use from the source tapes by logging scenes—setting up the beginning and ending times—as a set of offline files for later capture. If you set up device control 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 window, and then use the Capture window’s device controls to capture the logged clips automatically. If you have a list of In points and Out points, you can log them manually by using the following procedure without a device online; simply enter each clip’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 batch list; see “Importing and exporting batch lists” on page 76.

A B

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Using Help | Contents | Index Back 73 To log clips using device control: 1 Choose File > Capture, and make sure that your device is online as indicated above the

preview in the Capture window. If it’s offline, see “Setting up device control equipment” on page 68.

Capture window with Logging tab active

2 Click the Logging tab, and type the Tape Name used for the video tape. (You may be asked to specify the tape name each time you insert a new tape, depending on the device control software and the video deck.) 3 Use Capture window controls to move to the first frame in the clip you want to capture, and click the Set In button . Depending on the device, you may not be able to capture the first 4 to 10 seconds of a DV tape.

Note: In the Capture window, the Set In button and the Set Out button appear below the image and in the Logging tab. You can also view or change shortcuts for these buttons and other buttons by choosing Edit > Keyboard Customization.

4 Use the controls in the Capture window to move to the last frame in the clip you want to capture, and click the Set Out button.

5 Click the Log Clip button. Change the logging data if necessary, and click OK. 6 Repeat steps 3 through 5 for each clip that you want to capture from this tape. 7 If you have another tape from which you want to capture clips, insert it, update the

Tape Name in the Capture window, and repeat steps 2 through 8.

8 Save the project. To log clips manually using the Capture window: 1 Open the project (and bin, if necessary) where you want to add the entries. 2 Choose File > Capture. Using Help | Contents | Index Back 74

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Using Help | Contents | Index Back 74 3 Click the Logging tab. Next to the Set In button in the Timecode section, enter

timecode for the first frame of the clip, and click Set In.

4 Enter the last frame of the clip next to the Set Out button, and click Set Out. 5 Click Log Clip. For a description of the options in the Log Clip dialog box, see “Using

offline files” on page 87. 6 Repeat steps 2 through 5 for each entry in your log. You can also log clips manually without having to open the Capture window, by creating offline files. See “Using offline files” on page 87.

Specifying batch-capture settings

By default, the settings Adobe Premiere Pro uses to batch-capture offline files are the project’s current capture settings. Offline files use capture settings in the following ways:

• If an offline file has its own capture settings, Adobe Premiere Pro uses those settings

when capturing it. If you capture an offline file using Adobe Premiere Pro, the resulting clip maintains its capture settings so that it can easily be recaptured using the same settings.

• If an offline file doesn’t have its own capture settings, Adobe Premiere Pro applies the

project’s capture settings.

• When you perform a batch capture (by choosing File > Batch Capture), you have an

opportunity to apply the same capture settings to all of the offline files you selected, overriding the settings of individual offline files.

To see whether a clip has capture settings:

Look in the Capture Settings column in the Project window. If you can’t find the column, you may have to scroll the Project window sideways to reveal this column, or the column may be hidden. (To reveal hidden columns, choose Edit Columns from the Project window menu, select them in the list, and click OK.)

To change a clip’s capture settings:

Select the clip in the Project window and choose Clip Capture Settings > Set Capture Settings.

To remove a clip’s capture settings:

Select the clip in the Project window and choose Clip > Clear Capture Settings.

To specify extra frames to be captured at the ends of each batch-list entry: 1 Choose Handles from the Batch Capture window menu. 2 Type the number of frames of additional video that you want to capture before the In

point and after the Out point of the clip, and click OK.

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Using automatic scene detection

Instead of manually logging In and Out points, you may want to use the Scene Detect feature. Scene Detect analyzes the video for scene breaks indicated by the tape’s timecode, 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 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.

To turn on automatic scene detection:

In the Capture window, do any of the following:

• Click the Scene Detect button below the image.

• Select Scene Detect in the Capture section of the Logging tab.

• Choose Scene Detect from the Capture window menu.

Batch-capturing clips

When you finish logging clips, you’re ready to batch-capture the clips. Unless specific clips use their own capture settings, Adobe Premiere Pro captures the offline files using the capture settings that were specified when the clips were logged. See “Specifying batchcapture settings” on page 74. Choosing the Batch Capture command starts the batchcapturing process for clips selected in the Project window. For efficient capture, Adobe Premiere Pro captures clips from the start of a tape to the end regardless of the order in which you selected the offline files. If you select offline files to be captured from multiple tapes, Adobe Premiere Pro captures each tape’s clips in one pass, so you have to insert each tape only once.

To batch-capture clips: 1 In the Project window, select the offline files you want to capture or select a bin

containing the offline files you want to capture.

2 Choose File > Batch Capture. 3 If needed, specify a Handle Length to capture extra frames before and after the In and

Out points specified for each clip (see “About clip handles and transitions” on page 170). 4 Do one of the following:

• To capture each selected clip using its own settings (or the project settings for clips that

have no capture settings), click OK.

• To specify settings that apply to all selected clips, click Override Clip Settings and

specify the settings you want. This option is rarely needed for DV capture. 5 Verify that the deck and source videotape are set up properly for capture, and then click OK. 6 When the Insert Tape dialog box appears, insert the requested tape and click OK. If you are capturing from multiple tapes, be ready to insert each of them as Adobe Premiere Pro requests them.

To cancel batch capture:

Click the Stop button in the Capture Window, or press the Escape (Esc) key.

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Troubleshooting batch capture

You can perform trouble-free batch captures 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 capture, 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 this in the Project window List view. If

necessary, select the clip in the Project window and choose Project > Unlink Media. If you select multiple clips and some are online, Adobe Premiere Pro captures the offline files only.

• Tape Name, Media Start, and Media End must be specified in the Edit Offline File dialog

box for each offline file. As long as one selected offline file contains these settings, the Batch Capture command is available, but only clips with all three required settings will actually be captured. If necessary, verify this in the Project window List view or doubleclick 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 capture stops and the Capture Settings Error dialog box appears.

• The filename of each clip (as specified in the Capture Settings dialog box) must not

conflict with a clip that already exists. If necessary, double-click each offline file to verify this. If this isn’t resolved before you attempt a batch capture, Adobe Premiere Pro slightly alters the filename of the clip so that batch capture can continue.

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 not captured.

• To apply the project’s current Capture Settings to any clips in the list, select the clips

and click Apply Defaults.

• To stop batch capture, click Cancel. No clips will be captured.

Importing and exporting 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 window. You can also export offline files as a .CSV batch list so that you can transfer a logged clip list between projects and workstations. To see 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:

• Custom video-production software that uses a database or spreadsheet program to

generate a batch list

• Batch lists exported from Adobe Premiere 6.5

• Logging utilities such as Pipeline Autolog

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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: tape name, In point, Out point, clip name, log note, description, scene, and shot/take. Exported field data is exported from the corresponding columns in the List view of the Project window.

To import a batch-list timecode log:

With a project open, choose Project > Import Batch List. Locate and select the file, and click Open.

To export a batch-list timecode log: 1 Select the files that you want to log. 2 Choose Project > Export Batch List. Specify a filename and location, and click Save.

Recapturing clips

You can recapture clips in an existing project using batch capture. Clips can be recaptured if the following are true:

• Clips are unlinked from their source files so that the clips become offline files, because

clips can be captured only from offline files.

• The unlinked source files are either deleted from the disk or are stored under a filename

other than the clip name specified in its offline file.

• Each offline file contains a tape name (to check this, double-click an offline file).

• The source media contains timecode. Adobe Premiere Pro can’t recapture clips if no

timecode exists on the source media.

To recapture clips: 1 If you want to override the capture settings for any clip that you intend to recapture, set

the clip’s Capture Settings (see “Specifying batch-capture settings” on page 74). 2 In the Project window, select all the clips you want to recapture. If you want to select clips in different bins, use List view, which allows viewing of multiple bins. 3 Choose Project > Unlink Media to disassociate the selected clips from their current source files. In the Unlink Media dialog box, specify whether source media files remain on disk or are deleted (see “Using offline files” on page 87). 4 With the offline files still selected, choose File > Batch Capture. Adjust the settings as described in “Batch-capturing clips” on page 75. 5 Verify that the deck and source videotape are set up properly for capture, and then click OK.

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Importing digital audio

Adobe Premiere Pro can import digital audio clips stored as audio files or tracks in video

files. Digital audio is stored as binary data readable by computers. Most digital audio is stored on computer hard disks, audio compact discs (CDs), or digital audio tape (DAT). If you have capture hardware that can read digital audio data directly, such as an IEEE 1394 (FireWire/i.Link) connection, you can preserve the quality of your digital audio source when capturing audio with the Capture window. When transferring digital audio to your computer, use digital connections where possible. Any analog connection, such as connecting a compact-disc player to a computer through analog audio jacks, reduces audio quality. For maximum editing performance, Adobe Premiere Pro conforms each imported audio channel to 32-bit floating-point data at the project’s sample rate (see “Conforming audio” on page 192). All imported audio is conformed, even audio tracks in video files.

Note: When you want to capture an audio-only file from a digital audio source, choose Audio in the Capture window’s Capture pop-up menu.

For details about digital and analog sources, see “About digital and analog sources” on page 92.

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 turn on the Project Linking option as you export audio from Adobe Audition, you can use the Edit > Edit Original command in Adobe Premiere Pro to open an audio clip’s Adobe Audition project directly from within Adobe Premiere Pro. See “Editing a clip in its original application” on page 145.

Using CD audio

You can use CD audio (CDA) files in a project, but before you can import them into Adobe Premiere Pro, you need to convert them to a supported file format. You can convert CDA files using an audio application such as Adobe Audition. Once you’ve converted the audio file to compatible file format such as WAV, import it using the File > Import command.

Note: Make sure that you own the copyrights or have licensed the copyrights to any CD tracks you use.

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.

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Capturing analog audio

If you want to use audio that is not yet in digital form, such as an analog cassette or a live voiceover, you need to capture it. With the proper audio- or video-capture card, Adobe Premiere Pro can capture audio that is synchronized with its source video or that is independent of it. 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, digitizing 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. If you plan to export or play back the final cut from Adobe Premiere Pro, capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for final export or playback. This provides headroom, or extra data, that helps preserve quality if you adjust audio gain or apply audio effects such as equalization or dynamic range compression/ expansion; see “Applying and controlling Standard effects” on page 244.

Note: Although the DV format can record two independent stereo audio pairs, you cannot capture the Stereo 2 pair in Windows.

To set the location of a file captured from an audio-only source: 1 Choose Edit > Preferences > Scratch Disks. 2 For Captured Audio, select a location and click OK. To capture an audio source or voiceover: 1 Connect the audio source or microphone to the sound input port on your computer or

sound card. If necessary, choose Edit > Preferences > Audio Hardware to configure the input device; see “Setting a track’s input source” on page 213. 2 If you are recording a voiceover and want to preview the timeline as you record, position the current-time indicator in the Timeline window a few seconds before the time when you want the voiceover to begin.

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Using Help | Contents | Index Back 80 3 In the Audio Mixer window, 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 window, click the Record button for the sequence. Adobe Premiere

Pro prepares the sequence for recording but moves the playhead only when you press the Play button.

5 Select Meter Input(s) Only in the Audio Mixer window menu. 6 Test the input levels by playing the audio source or speaking into the microphone. 7 When you’re done testing, you may want to deselect Meter Input(s) Only in the Audio

Mixer window menu. 8 Play the audio source or start speaking into the microphone. Watch the Audio Mixer level meters to ensure that the input levels for record-enabled tracks are high enough without clipping. 9 Be ready to start the audio source or prepare to speak. Click the Play button in the Audio Mixer, and then start the audio source or start speaking.

If no audio is recorded or you can’t hear your source audio, try playing the audio through the computer’s speaker system without recording. If you still can’t hear it, the audio source may not be properly connected. Check hardware connections, settings in Audio Hardware preferences (choose Edit > Preferences > Audio Hardware), settings in Control Panel’s Sounds and Audio Devices, and the documentation that came with your computer and sound card.

A B

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Importing clips

You can import a single clip, multiple clips, or an entire folder of clips, either by using the File > Import command or simply dragging them into the Project window. Clips cannot exceed 4000 x 4000 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. If you import a clip and it appears horizontally or vertically distorted (stretched), its pixel aspect ratio may not be interpreted correctly. If this is the case, inspect the pixel aspect ratio for the clip and change it if necessary (see “Capturing or importing various aspect ratios” on page 100). Adobe Premiere Pro continuously rasterizes EPS images, so you can scale these files without pixelization. See “Adjusting position, scale, rotation, and anchor point” on page 241. Adobe Premiere Pro can import a number of video and audio formats. Video formats: Type 2 AVI, MOV, MPEG/MPE/MPG, Open DML, and WMV

Note: Type 1 AVI clips must be rendered before they can be previewed from your 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.

Audio formats: AIFF, AVI, MOV, MP3, WAV, WMA Still-image formats: AI, BMP/DIB/RLE, EPS, FLC/FLI, GIF, ICO, JPEG/JPE/JPG/JFIF,

PCX, PICT/PIC/PCT, PNG, PRTL (Adobe Title Designer), PSD, TGA/ICB/VST/VDA, TIFF Sequence formats: AI, BMP/DIB/RLE, Filmstrip, animated GIF, PICT/PIC/PCT, TGA/ICB/VST/ VDA, TIFF, PSD File format support is provided by plug-in software modules. Most software modules for these formats are automatically installed with Adobe Premiere Pro. Some formats may require that Apple QuickTime be installed. If you’re using an Adobe application to create a clip for use in Adobe Premiere Pro, turn on the Embed Project Link option in the originating Adobe application so that you can use Adobe Premiere Pro’s Edit Original command to open the clip in the application used to create it. See “Editing a clip in its original application” on page 145.

To import one or more clips into the Project window:

Do one of the following:

• To import a single clip, choose File > Import. Locate and select the file,

and then click Open.

• To import multiple clips, choose File > Import. Hold down Control as you select each file

you want to import. Click Open.

• To import a clip that was recently imported into Adobe Premiere Pro, choose the file

from the File > Import Recent File submenu. The file may not appear if many other files have been imported more recently or if Adobe Premiere Pro preferences have been reset.

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• To import a folder of clips, choose File > Import. Locate and select the folder you want

to import, and then click Folder. The folder imports as a new bin in the Project window, with the folder’s contents listed inside the bin. You can also import files and folders by dragging them from a desktop window to the Project window in Adobe Premiere Pro.

Importing still images

You can import individual still images or convert a numbered sequence of still images into

a single animation as you import (see “Importing an animation or still-image sequence” on page 84). You can import still images with frame sizes up to 4000 x 4000 pixels. The following guidelines affect how still images appear when you import them into Adobe Premiere Pro:

• An imported still image uses the duration specified in the Edit > Preferences > Still

Image preferences. You can change the duration of a still image in the Timeline window.

• The size and aspect ratio of imported still images is affected by the same factors that

affect imported video clips. See “Importing clips” on page 81.

• When preparing images in applications that support color management, such as Adobe

Photoshop, colors may appear 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.

• For best results, create files with a frame size at least as large as the frame size of the

project, so that you don’t have to scale up the image in Adobe Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project. For example, if you plan to scale up an image 200% in a project, prepare the image at double the project frame size before you import it.

To change the default duration for still images: 1 Choose Edit > Preferences > Still Image. 2 For 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.

When importing files through the Import dialog box, you can identify files visually if you set the view to Thumbnails.

To change the duration of a still image in the timeline:

Do one of the following:

• Position the selection tool over either end of the image and drag.

• Select the clip, and choose Clip > Speed. Enter a new duration, and click OK.

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Using Help | Contents | Index Back 83 2 Choose File > Interpret Footage. 3 Select an option in the Pixel Aspect Ratio section, and click OK:

• 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.

Importing Adobe Illustrator still images

You can import an Adobe Illustrator still-image file directly into an Adobe Premiere Pro project. Adobe Premiere Pro converts path-based Adobe Illustrator art into the pixelbased image format used by Adobe Premiere Pro, a process known as rasterization. Adobe Premiere Pro automatically anti-aliases, or smooths, edges of the Adobe Illustrator art. Adobe Premiere Pro also converts all empty areas into an alpha channel, so that empty areas become transparent in Adobe Premiere Pro. All layers in an Adobe Illustrator file are merged when you import them into Adobe Premiere Pro. If you want to define the dimensions of the Adobe Illustrator art when it is rasterized by Adobe Premiere Pro, use Adobe Illustrator to set crop marks in the Adobe Illustrator file.

For information about setting crop marks in Adobe Illustrator, see the product’s documentation.

Importing Adobe Photoshop still images

You can import files from Adobe Photoshop 3.0 or later. However, Adobe Premiere Pro does not support 16-bit TIFF images created in Adobe Photoshop or other graphics applications. You can control how layered Adobe Photoshop files are imported; see “Importing layered Adobe Photoshop files” on page 83. Empty (transparent) areas of nonflattened Adobe Photoshop files are transparent when imported into Adobe Premiere Pro, because the transparency is stored as an alpha channel (see “Defining transparency terminology” on page 219). This lets you import Adobe Photoshop graphics and superimpose them over clips in other tracks with no extra effort. In addition, you can import a layered Adobe Photoshop file as a sequence, allowing you to set up animations in Adobe Photoshop and then import them into an Adobe Premiere Pro project (see “Importing layered Adobe Photoshop files” on page 83).

Importing layered Adobe Photoshop files

When you import a layered file saved in the Adobe Photoshop file format, you can choose how to import the layers:

• 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 in time.

These options are available in the Import Layered File dialog box, which appears when you import a layered Adobe Photoshop file. 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. Note that a white background in Adobe Photoshop is saved or exported as opaque white, while a checkerboard background indicates areas that will translate into alpha channel transparency when the Photoshop file is saved or exported to a format that supports alpha channels.

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Converting layers into a sequence makes it easy to set up animations using layers in Adobe Photoshop. When Adobe Premiere Pro converts layers to a sequence, the sequence is imported into the Project window as a bin; each layer 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 Adobe Photoshop layer attributes aren’t supported, such as non-normal blending modes and the Knockout option. For best results, use basic transparency and opacity in Adobe Photoshop.

To import a layered Adobe Photoshop file as a still image: 1 Choose File > Import. 2 In the Import dialog box, make sure that Photoshop or All Supported Media is selected

for Files of Type, and then locate and select a layered Adobe Photoshop file. 3 In the Import Layered File dialog box that appears, make sure that Footage is selected in the Import As pop-up menu.

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 in 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 window consists of the layer name followed by the original filename.

To import a layered Adobe Photoshop or Adobe Illustrator file as a sequence: 1 Choose File > Import. 2 In the Import dialog box, make sure that All Supported Media is selected for Files of

Type, and then locate and select a layered file. 3 In the Import Layered File dialog box that appears, choose Sequence in the Import As pop-up menu, and then click OK.

Importing an animation or still-image sequence

You can import an animation contained in a single file, such as an animated GIF. An animation is different from a video in that it is generated synthetically, not by shooting live action. Adobe Premiere Pro can also import a sequence of numbered still-image files and automatically combine them into a single clip; each numbered file represents one frame. Some applications, such as Adobe After Effects, can generate a numbered sequence of still images. Images in a still-image sequence cannot include layers, so you need to flatten images that will be part of a sequence. For information on layers and flattening, see the documentation for the application that created the file.

Note: Changing the default duration of still images in the Preferences dialog box does not affect the duration of still images that are part of a sequence.

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When creating three-dimensional images or animations for use in Adobe Premiere Pro, use the following 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, turn on the Embed

Project Link option so that you can open the sequence in the application that was used to create it. See “Editing a clip in its original application” on page 145.

To import numbered still-image files and compile them into a single clip: 1 Make sure that each still-image filename has the correct file extension, and make sure

that all filenames in the sequence contain an equal number of digits at the end of the filename (before the filename 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 on, Adobe Premiere Pro interprets all of the numbered files as a single sequence.

Importing another project

You can add the contents of an existing Adobe Premiere Pro (or earlier version) project to an open project. When you import a project into an open project, the imported project’s clips and sequences are added to the Project window in a bin named after the imported project. The bin hierarchy of the imported project is maintained within its new bin in the current project. 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. Projects created in Adobe Premiere 5.1 or later can be imported directly into an Adobe Premiere Pro project. To import an Adobe Premiere 5.0 or earlier project, first convert it to an Adobe Premiere Pro project by opening and saving it in Adobe Premiere Pro (see “Opening a project” on page 41). For projects saved in Adobe Premiere 6.x format or earlier, the project’s timeline becomes a sequence at the top level of the bin that results from importing the project. Importing one project into another is the only way to transfer complete sequence and clip information from one project to another.

To merge a project into a currently open project: 1 Choose File > Import. 2 Locate and select the project, and then click Open.

Note: In earlier versions of Adobe Premiere, storyboards were stored in files independent of project files. While Adobe Premiere Pro contains all storyboard features within the

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Project window, you can import storyboard files created in earlier versions of Adobe Premiere Pro by using the File > Import command.

Changing the frame rate of a clip

You can use the Interpret Footage command to change the frame rate that Adobe Premiere Pro assumes for a clip. Changing the frame rate changes the original duration proportionally. For example, if you set a 10-second 24-fps clip to 48 fps, it becomes half as long, with a new duration of 5 seconds. Be aware that a clip’s frame rate is reconciled with the project’s frame rate. For example, if you change a 24-fps clip to 48 fps and it’s used in a 24-fps project, the project can display only every other frame of the clip. You can also change clip speed and duration by choosing the Clip > Speed command for a clip selected in the Timeline window. However, such a change affects only that clip instance in the timeline. Using the Interpret Footage command changes how a file is interpreted throughout a project.

To change the assumed frame rate of a media file: 1 In the Project window, select a clip. 2 Choose File > Interpret Footage, select a Frame Rate option, and click OK.

Creating a counting leader

If you plan to create film output from a sequence, you may want to add a counting leader. A counting leader helps a projectionist verify that audio and video are working properly and are synchronized. You can create and customize a universal counting leader to add to the beginning of a project. The leader is 11 seconds long.

To create a leader:

In the Project window, click the New Item button at the bottom of the Project Window

and choose Universal Counting Leader from the menu that appears. Specify the following options as needed:

Wipe Color Specifies a color for the circular one-second wipe area. Background Color Specifies a color for the area behind the wipe color. Line Color Specifies a color for the horizontal and vertical lines. Target Color Specifies a color for the double circles around the numeral. Numeral Color Specifies a color for the countdown numeral. Cue Blip on Out Displays a small cue circle in the last frame of the leader. Cue Blip on 2 Plays a beep at the two-second mark. Cue Blip at All Second Starts Plays a beep at the beginning of every second during

the leader. You can customize a counting leader clip by double-clicking it in the Project window.

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Creating color bars and a 1-kHz tone

You can create a one-second clip containing color bars and a 1-kHz tone, as a reference for calibrating video and audio equipment. Some audio workflows must be calibrated at a specific tone level. The default level of the 1-kHz tone is 012 dB referenced to 0 dBfs. You can customize the tone level to match your audio workflow by choosing Clip > Audio Options > Audio Gain with a clip selected. If you select the bars and tone clip in the Project window, you set the default gain level for new clip instances. If you select a clip in the Timeline window, you change the level for that clip instance only.

To create color bars and a 1-kHz tone:

In the Project window, click the New Item button at the bottom of the Project Window and choose Bars and Tone from the menu that appears.

Creating black video

Empty areas of a track appear black if no other visible clip areas are present on underlying video tracks. If necessary, you can also create clips of opaque black video for use anywhere in a sequence. A black video clip is a still image at the project frame size, with a fivesecond duration. To create a clip of a different color, use a color matte (see “Creating a color matte” on page 233).

To create black video:

In the Project window, click the New Item button at the bottom of the Project Window and choose Black Video from the menu that appears.

Using offline files

An offline file is a placeholder for a source file that isn’t currently available on disk. Offline files remember 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, a “Media Offline” message appears in the Program view and in the track. When you use the Capture window to log clips from a tape, Adobe Premiere Pro automatically creates offline files containing the exact information required to capture the clips later (see “Logging clips as offline files for batch capture” on page 72). 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 window and even lay out sequences in the Timeline window 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 capture. In Adobe

Premiere Pro, a batch-capture list is a set of offline clips; selecting specific offline clips sets them up for batch capture (see “Batch-capturing clips” on page 75).

• You want to recapture clips used in the project. This requires making the online clips

offline by using the Project > Unlink Media command (see “Recapturing clips” on page 77).

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• A source file is unavailable when you open a project, so that Adobe Premiere Pro can’t

locate it automatically and you can’t locate it manually. Adobe Premiere Pro provides Offline and Offline All buttons in this case (see “Opening a project” on page 41). To capture video using offline files, see “Batch-capturing video” on page 72.

Note: Online and offline clips as used in Adobe Premiere Pro are not directly related to the concepts of online and offline editing. However, offline files may be used as part of an offline editing workflow (draft-resolution capture for editing, high-resolution recapture for final output).

For more information, see “Understanding offline and online editing” on page 98.

To create an offline file: 1 In the Project window, click the New Item button at the bottom of the Project

Window and choose Offline File from the menu that appears.

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 For File Name, type the name of the file as you want it to appear on disk when you capture it using Adobe Premiere Pro. If you’re creating an offline file for a source file that is captured but isn’t on your computer yet, type the name of that file.

5 Enter a description, scene, shot/take, and log note as needed. 6 Enter timecode for the entire untrimmed clip, including any extra frames you plan to

capture for editing and transitions.

Note: To be eligible for capture, a clip must contain at least a tape name, filename, media start, and media end.

To edit an offline file:

In the Project window, double-click the offline file, edit options as needed, then click OK.

To replace an offline file with a source file that’s already captured: 1 In the Project window, select one or more offline files. 2 Choose Project > Link Media. 3 Do one of the following, and click OK:

• Locate and select the actual source file.

• Click Cancel if you can’t locate the file you wanted to link to.

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 filename 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 into an offline file: 1 In the Project window, select one or more online files.

2 Choose Project > Unlink Media. 3 Select one of the following options, and click OK:

• Media Files Remain On Disk makes the selected files offline in the project but doesn’t

erase the source files from the disk.

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• Media Files Are Deleted makes the selected files offline in the project and erases the

source files from the disk.

Note: If you select Media Files Remain On Disk and recapture a clip using the same filename as the file left on disk, the original media file is replaced. To preserve original clips without changing their names, move them to another folder or disk, or specify a different filename for the clips you recapture.

Analyzing clip properties and data rate

Adobe Premiere Pro includes clip analysis tools that you can use to evaluate a file in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a Web server, you can use clip analysis tools to determine whether a clip you exported has an appropriate data rate for Internet distribution. The Properties feature provides detailed information about any clip. For video files, analyzed properties can include the file size, number of video and audio tracks, duration, average frame rate, audio sample rate, video data rate, and compression settings. You can also use the Properties feature to alert you to the presence of any dropped frames in a clip you just captured. Use the data rate graph to evaluate how well the output data rate matches the requirements of your delivery medium. It charts each frame of a video file to show you the render keyframe rate, the difference between compression keyframes and differenced frames (frames that exist between keyframes), and data rate levels at each frame. The graph includes the following:

Data rate The line represents the average data rate. Sample size The red bars represent the sample size of each keyframed frame. Differenced frames sample size The blue bars represent the sample size of the

differenced frames between compression keyframes.

To see the properties of a clip: 1 Do one of the following:

• If the clip is in the Project window, select it to display a subset of its properties in the

preview area at the top of the Project window.

• If the clip is in the Source view, Timeline window, or Project window, select it and

choose File > Get Properties For > Selection.

• If the clip is not in the project, choose File > Get Properties For > File. Locate and select

the clip you want to analyze, and then click Open. 2 When you are finished, close the Properties window. You can also view clip properties in the Source view, Timeline window, or Project window by right-clicking a clip and choosing Properties from the context menu.

Using timecode for efficient capture

DV cameras and high-end video decks record timecode, which marks specific frames precisely. Timecode is important whenever you want to capture exactly the same frames that were identified or captured previously, as in the following tasks:

• You want to log clips before you capture them.

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• 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.

• You’re using a system in which you edit quickly with low-resolution captures, and later

re-capture the clips at full resolution and quality for the final version.

• You plan to synchronize captured video with audio recorded separately.

Timecode is not the same as the simple time counter found in home analog cameras and VCRs, which reset to zero if you switch tapes or turn the device off and on. True timecode consistently identifies specific frames on the tape because the timecode is stored on the tape. If footage lacks timecode, you can add it by copying the video to a DV camera or deck, and then capturing the video from the DV device.

Recording continuous timecode as you shoot

For best results, a tape’s timecode should be continuous—the timecode shouldn’t restart from zero in the middle of the tape. If you set a capture In point such as 00:00:01:09 but it occurs on the tape two or three times due to timecode restarts, Adobe Premiere Pro can’t be certain which In point is the one you intend to capture. For this reason, discontinuous timecode limits flexibility when batch-capturing or recapturing clips. If valid timecode is present on the tape at the frame just before where you begin recording, subsequent recording uses that timecode. To ensure that you always shoot continuous timecode, practice the following procedures while shooting:

• As you start a shot, record at least 5 seconds of extra video before shooting the action.

• Before you stop recording, record at least 5 seconds of extra video.

• Before you resume recording, cue the end of the tape up to at least 1 second before the

end of the extra video.

• As you resume recording, check the timecode to verify that the timecode hasn’t

restarted to 00:00:00:00 in the middle of the tape. If the timecode restarts, stop recording, rewind until the camera is once again within the proper timecode, and then continue recording.

Striping a tape with timecode

Equipment such as DV cameras are designed to create continuous timecode if you record without shuttling back and forth (such as when reviewing shots). However, timecode may reset to 00:00:00:00 if you accidentally roll the tape into a completely unused area before you shoot another scene. You can ensure continuous timecode by recording timecode onto the tape before you use it. This process is called striping the tape. Striping is not necessary if you follow recommended practices (see “Recording continuous timecode as you shoot” on page 90), but if you decide to stripe tapes, do the following:

• You must ensure that all camera settings (particularly the audio sample rate) are exactly

the same as the settings you use when you shoot.

• Ensure that the settings are never changed as long as you shoot on that tape.

• When you record on a striped tape, start recording several seconds into the tape to

ensure that you’re recording after the striping starts.

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Using Help | Contents | Index Back 91 To stripe a tape with timecode: 1 Put a completely unused tape in the camera. 2 If you’re using a camera, attach the lens cap and disable audio input.

3 Begin recording. Let the camera or deck run until the entire tape is recorded.

Replacing DV timecode

If the timecode on your tape isn’t continuous, you can create a copy, or dub, of the tape. The device making the copy records new timecode that is continuous, so you can then capture video (and the new timecode) from the copy.

To replace the timecode on a tape: 1 Load the tape you have shot into a DV camcorder or deck, and make sure that it is fully

rewound. 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 Connect the two devices using an IEEE 1394 cable to create 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 IEEE 1394 port. 8 Begin recording the new tape and then start your original tape playing. Let the

camcorders or decks run until the entire original tape has been copied.

Note: The Scene Detect feature in Adobe Premiere Pro recognizes the starting and stopping points recorded with the timecode on the original DV tape used to shoot the scenes. Copying a tape replaces the timecode, so you won’t be able to use Scene Detect when you capture the tape in Adobe Premiere Pro.

Capturing timecode

The timecode of a source video is captured when you use device control (DV or analog). 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.

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Manually setting timecode for a clip

On some analog copies of video footage, the timecode appears not on the video track, but as a window dub or window burn superimposed on each video frame. This window dub lets you see the timecode on a deck that can’t read true timecode (see “Using timecode for efficient capture” on page 89). Window dub timecode is also called burned-in, or visual, timecode. Because a videotape with burned-in timecode usually doesn’t include true timecode stored on the tape, clips captured from that tape aren’t marked with timecode on your computer. However, you can manually set the timecode for each captured clip. Because this requires referring to the original videotape, this is best done immediately after capturing a clip.

To set timecode manually for a clip: 1 Select the clip in the Project window. 2 Choose File > Timecode, specify options as needed, and click OK.

About digital and analog sources

You can import clips from any source—videotapes, motion-picture film, audio, still

images—as long as they exist as digital files stored on disk. Source material exists in two main forms:

• Digital media is stored in a file format that a computer can read and process directly.

Many newer cameras and audio recorders can save images and sound in a digital format. All digital video (DV) camcorders and decks record video and audio in digital format. Digital media stored on tape must be transferred to disk before Adobe Premiere Pro can use it in a project. Adobe Premiere Pro can capture digital video from tape and save it to disk as clips that you can then add to your project.

• Analog media must be digitized, or converted to digital form, before a computer can

store and process it. Some examples of analog media are motion-picture film, conventional audio tape, and slides. Adobe Premiere Pro, in conjunction with a capture card, can digitize analog videotape such as Hi-8 and save it to disk as clips that you can then add to your project. Although digital media equipment is common, a great amount of video and audio continues to be recorded and stored using analog equipment. You can digitize analog video or audio directly into Adobe Premiere Pro if you use digitizing hardware to connect analog devices to your computer. Video-digitizing hardware is built into some personal computers, but can also be added to a system by installing a compatible hardware capture card. For a list of compatible cards, see the Adobe Premiere Pro Web site (www.adobe.com/products/premierepro).

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Connecting a DV source

To capture DV video, your computer must be able to connect to a DV device using IEEE 1394 (FireWire/i.Link). For detailed instructions on connecting your device, see your device documentation. Adobe Premiere Pro’s built-in DV support relies on DV support in the operating system. To provide DV support through their operating systems, Microsoft requires IEEE 1394 interfaces that are compliant with the OHCI specification. Many computers include OHCI-compliant IEEE 1394 ports on the computer, and almost all current IEEE 1394 cards are OHCI-compliant. IEEE 1394 interfaces that are not supported by the operating system require their own presets, driver software, and plug-ins written specifically for Adobe Premiere Pro. If your computer does not have a built-in IEEE 1394 interface, you can purchase a hardware capture card that provides the interface (see your computer’s documentation). The first step in capturing DV video is to connect the camcorder or deck to the IEEE 1394 port or card in your system. Plug an IEEE 1394 connector into the DV In/Out port on the camcorder or deck and plug the other end into the IEEE 1394 port on the system’s panel or on the card installed in the system.

Connecting to the IEEE 1394 (FireWire/i.Link) port on the computer

Some DV camcorders require a connection to their power adapter to activate the IEEE 1394 port. 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 its power adapter when setting it up for capturing or dubbing video. If the camcorder goes into demo mode with the power adapter connected, turn off this feature using the camcorder’s menu system.

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Connecting an analog video source

To capture analog video, first connect the camcorder or deck to the capture card installed in your system. Depending on your equipment, you may have more than one format available for transferring video and audio, including component video, composite video, and S-video. Refer to the instructions included with your camcorder and capture card.

Analog video connections A. S-video connection B. Composite video and left-right audio connections

Digitizing analog video as DV

If you’re adding analog video to a DV project, you can digitize the analog video as if it were DV. This process adds DV timecode so that you can avoid compatibility problems and batch-capture using device control in Adobe Premiere Pro. There are several ways to convert analog video to DV:

• Use a DV camcorder with an analog video input, dub the analog tape to DV format tape,

and then capture from the DV copy.

• If your DV camera supports IEEE 1394 output directly from analog input (without

having to record the analog input on tape first), connect the analog video signal to the analog input port on the DV device and then connect the IEEE 1394 connector to the computer. Set the Input Select on the DV device to the analog input and enable the conversion mode in the device’s menu. Depending on the device, this mode may be called Analog to Digital Converter, Analog to Digital Conversion with Pass-Through, or E-E mode. For more information, see the documentation for your camera.

• Use a standalone analog-to-digital converter, such as the Sony DVMC-DA1, to digitize

the analog video to DV format without using a camcorder.

Note: Some capture cards support both analog and DV capture.

Preparing for DV capture

Capturing DV video differs from capturing analog video in several ways. Because the DV image is converted directly to digital format in the camcorder, it is ready to be stored on a hard disk and doesn’t need to be digitized in the computer. Therefore, DV input doesn’t need to be captured in the sense that analog video does; it merely needs to be transferred to your computer. To transfer DV, you need the following:

• A capture card or computer with an OHCI-compliant interface.

• A DV codec (compressor/decompressor). Adobe Premiere Pro uses its own DV codec

and can import DV media without further conversion.

• A hard disk capable of sustaining the 3.6-MB-per-second data rate of digital video.

A B

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• A project that was created using a DV preset in the New Project dialog box where all

settings match the footage you’re about to capture. For best results, make sure that the preset or project you choose matches the standard format (NTSC or PAL) and the audio rate (32 kHz or 48 kHz) used when you shot your video footage.

• Sufficient disk space for the captured footage. The length of a captured clip may be

limited by the file-size limits of your operating system; see “File-size limitations” on page 102.

Note: If the video you are capturing was shot in 16:9 format using an anamorphic widescreen add-on lens, be sure to choose a Widescreen (cinema) DV preset. You’ll also need to set the pixel aspect ratio for each individual clip after importing. If you don’t,

Adobe Premiere Pro treats the video as if it were in 4:3 format, resulting in distortion of the aspect ratio. See “Capturing or importing various aspect ratios” on page 100.

To prepare for DV video capture: 1 Connect the DV device (camcorder or deck) to your computer using an IEEE 1394

connection. The connection point on your DV device may be marked DV IN/OUT, i.Link, or IEEE 1394. 2 Turn the DV 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 DV input is set properly.

Note: Don’t set a camera to any of the recording modes, which may be labeled Camera or Movie.

3 Start Adobe Premiere Pro. When the Welcome to Adobe Premiere Pro dialog box appears, do one of the following:

• Click New Project, select the desired DV preset from the Load Preset tab, and click OK.

• Select an existing project and click OK. If you choose an existing project, it must use a

DV preset that matches the video and audio settings of the footage you’re going to capture. 4 Choose Edit > Preferences > Scratch Disks, and specify the locations for Captured Video and Captured Audio. See “Using scratch disks” on page 57.

To set up capture preview options: 1 With a project open, choose Project > Project Settings > Capture, and click DV Settings. 2 Specify options for During Preview and During Capture, and click OK:

• Select Preview Video on Desktop to display video from the capture device in the

Capture window. Deselect this option if you prefer to monitor the video outside Adobe Premiere Pro, such as on a camera’s built-in monitor. Turning off this option and the next one may improve capture performance.

• Select Preview Audio on Desktop to play audio from the capture device through the

computer’s speakers. Deselect this option if you prefer to monitor the audio outside Adobe Premiere Pro, such as through a camera’s built-in speaker.

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Using Help | Contents | Index Back 96 3 Click OK to close the Project Settings dialog box.

Note: If you’re using the Capture window and a “No Device Control” or “Capture Device Offline” message appears at the top of the Capture window, set up Device Control. See “Using device control” on page 67.

Avoiding DV capture problems

If you run into problem while capturing DV footage, refer to Adobe Premiere Pro DV capture topics or the documentation for your camera, deck, or capture card, or check the Adobe Web site (www.adobe.com) for technical support. The following are common issues and solutions that may arise when capturing DV video:

• If your device (camera or deck) goes into sleep mode, close and then reopen the

Capture window; or close the Capture window, turn the device off and back on, and then reopen the Capture window. You can disable sleep mode on many cameras by connecting them to AC power and ejecting the tape.

• Don’t be concerned if video looks grainy in the Capture or Monitor window. Video is

captured and stored at full quality and always plays at full 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. You can change the display quality setting for Monitor window playback in the Monitor window menu.

• If the video image does not appear in the Capture window, verify your device control

and capture settings. To adjust device control settings from the Capture window, click the Settings tab; then click Options in the Device Control section. In the Device Control Options dialog box, make sure that the Check Status option is set to Online. If it is not set to Online, make sure that the options are set correctly, that your device is on and set correctly, and that your IEEE 1394 connections are secure. To ensure that Adobe Premiere Pro can see the device, quit Adobe Premiere Pro, leaving the device on, and then restart Adobe Premiere Pro. Then open the Capture window, click the Play button , and click within the capture preview area.

• If captured audio and video are not in sync, make sure that sections of tape weren’t

skipped (completely 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. To ensure proper timecode recording, see “Recording continuous timecode as you shoot” on page 90.

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Preparing for analog capture

When you use an analog capture card, some capture settings you see within Adobe Premiere Pro are actually provided to Adobe Premiere Pro by the plug-in software that came with the capture card. Due to the differences among brands of capture 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 you are working on is related to the videocapture card and its software or Adobe Premiere Pro. Check the Adobe Premiere Pro Web site (www.adobe.com/products/premierepro) and the capture card manufacturer’s Web site for links to troubleshooting resources. Use these online resources as well as techniques such as process of elimination to determine whether the problem is with the capture card or Adobe Premiere Pro. Most of the supported capture cards install a settings file (preset) that you can select in the Adobe Premiere Pro New Project dialog box, under the Load Preset tab. This preset automatically sets all capture settings for optimal support with your capture card. If your capture card provides a preset, Adobe recommends that you select it for projects in which you capture clips or import captured clips and that you do not change the capture settings in the Settings dialog box.

To prepare for capturing analog video: 1 Specify the disk locations for captured video and audio files. See “Using scratch disks”

on page 57.

Note: The length of a captured clip may be limited by the file-size limits of your operating system (see “File-size limitations” on page 102).

2 Set up the video source. For an editing mode provided with a video-capture card, see the documentation included with the video-capture card. 3 Start Adobe Premiere Pro. When the Welcome to Adobe Premiere Pro dialog box appears, do one of the following:

• Click New Project, select the capture card’s preset (if available) from the Load Preset tab,

and click OK.

• Select an existing project that was set up with the capture card’s preset and click OK.

4 After the project opens, choose Project > Project Settings > General. Click Playback Settings. 5 In the Capture window, carefully check the settings in the Settings panel. If you need to change the settings, click Edit. The settings in this dialog box are provided by the card manufacturer’s plug-in software, not by Adobe Premiere Pro, and can vary depending on the analog capture card’s brand and model. See the documentation for the software driver provided by the manufacturer of the capture card. 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 (see “Analyzing clip properties and data rate” on page 89).

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Understanding offline and online editing

Most DV editing is performed online (using full-resolution source files). When working with analog source material or high-definition digital material, you can use Adobe Premiere Pro for either online or offline editing depending on the level of quality you require and the capabilities of your equipment. The settings you specify for analog capture are dictated by whether you plan to edit the program offline or online.

Note: Offline and online editing workflows are not directly related to online and offline file terminology as used in Adobe Premiere Pro (see “Using offline files” on page 87). However, using offline clips is part of an offline workflow.

About online editing

Online editing is the practice of editing (including the rough cut) the same clips that are used to produce the final cut. In the past, online editing was practical only on expensive workstations. Editors with high-end requirements who could not afford a suitable online system had to rent time at a production facility that owned one. Online editing is now practical for a wider range of productions, such as broadcast television, due to the combination of more powerful personal-computer hardware, more powerful software (such as Adobe Premiere Pro), and the rise of DV as a high-quality standard that personal computers can easily handle. For online editing, you capture clips once at the level of quality required for the final version of the video program. This is the default method of working when you use Adobe Premiere Pro to capture and edit video, particularly DV.

About offline editing

In offline editing, you edit video using low-quality clips and produce the final version using high-quality clips on a system with specialized, high-end hardware. Offline editing was developed to save money by editing in a less expensive facility, but is less necessary with the emergence of the DV format because current computers can handle DV-compressed footage with reasonable performance. However, offline editing can still save time and disk space on a desktop computer by initially capturing low-resolution clips that preview quickly; for the final cut, the clips are recaptured at the actual, final resolution. Offline editing is also useful when the final output, such as high-definition television or motion-picture film, requires data rates that still challenge the more affordable desktop computers. For example, you can complete an offline edit with Adobe Premiere Pro and

then export your project to the industry-standard Advanced Authoring Format (AAF) for transfer to an editing system with more powerful hardware. You can then perform the final online edit with full-resolution clips on that system.

About aspect ratios

Aspect ratio specifies the ratio of width to height. Video frames have an aspect ratio (frame aspect ratio), and so do the pixels that make up the frame (pixel aspect ratio). Some video cameras can record various frame aspect ratios, and different video standards use various pixel aspect ratios.

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When imported clips are created using a different pixel or frame aspect ratio than your project, distortions can result. Adobe Premiere Pro automatically attempts to detect and compensate for the pixel aspect ratio of source clips. If a clip appears distorted in Adobe Premiere Pro, you can use Adobe Premiere Pro to manually indicate its pixel aspect ratio. It's important to reconcile pixel aspect ratios before reconciling frame aspect ratios, because an incorrect frame aspect ratio is often caused by misinterpreting a source clip's pixel aspect ratio.

About 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 of 4:3 (or 4.0 width by 3.0 height). For comparison, a typical widescreen frame has a frame aspect ratio of 16:9; many cameras that have a widescreen mode can record using this aspect ratio. Many films have been shot using even wider aspect ratios.

A 4:3 frame aspect ratio (left), and a 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 (see “Using the Motion effect” on page 240).

About pixel aspect ratio

Pixel aspect ratio describes the ratio of width to height in a single pixel of 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 tall, which results in square pixels. At the same time, 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) while 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 window.

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Adobe Premiere Pro Help Capturing and Importing Source Clips

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If you display rectangular pixels on a square-pixel monitor without alteration, images appear distorted; for example, 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 without distortion because it attempts to automatically reconcile them with the pixel aspect ratio of your project. You may occasionally encounter a distorted clip if Adobe Premiere Pro interprets pixel aspect ratio incorrectly; if this happens, you can correct the distortion by manually specifying the source clip’s pixel aspect ratio. See “Setting pixel aspect ratio” on page 101.

Pixel and frame aspect ratios

A. Square pixels and 4:3 frame aspect ratio B. Nonsquare pixels and 4:3 frame aspect ratio C. Nonsquare pixels displayed uncorrected on a square-pixel monitor

Capturing or importing various aspect ratios

Adobe Premiere Pro attempts to automatically compensate for pixel aspect ratios and preserve the frame size of imported images. The following list describes how Adobe Premiere Pro treats images you import:

• When you capture or import video with either the D1 resolution of 720 x 486 or the DV

resolution of 720 x 480, Adobe Premiere Pro automatically sets the pixel aspect ratio for that file to D1/DV NTSC (0.9). When you import 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). However, it is always a good idea to make sure that all files are interpreted correctly by looking in the Project window or the File > Interpret Footage dialog box.

• Adobe Premiere Pro automatically assigns pixel aspect ratios to files using entries in the

file Interpretation Rules.txt, located in the Plug-ins folder inside the Adobe Premiere Pro folder. If a specific type of image is consistently misinterpreted (distorted) when you import it, you add or change the entries in this file using a text editor such as Notepad. If you want to override the pixel aspect ratio interpretation for files already in a project, use the File > Interpret Footage command (see “Setting pixel aspect ratio” on page 101).

• By default, Adobe Premiere Pro attempts to preserve the size of imported clips. If size

isn’t preserved upon import, the Scale Clips to Project Dimensions When Adding to Sequence option may be turned on in the Project > Project Settings > General dialog box (this option is off by default). If you want to change the size of an imported clip in Adobe Premiere Pro and its pixel aspect ratio is correct, select the clip and change the Scale property of the Motion effect. The Motion effect is available when you view the Effect Controls window with the clip selected in the Timeline window.

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Setting pixel aspect ratio

The preset you choose when you start a project sets the pixel aspect ratio for the project. You can’t change the aspect ratio after it is initially set, but you can choose Project >

Project Settings > General to inspect the project’s aspect ratio. In addition, you can use the File > Interpret Footage command to inspect and change the pixel aspect ratio that Adobe Premiere Pro assumes for individual source clips in the Project window. By ensuring that all files are interpreted correctly, you can combine footage with different ratios in the same project and generate output that doesn’t distort the source images.

To set the pixel aspect ratio for imported files: 1 Select the file in the Project window. 2 Choose File > Interpret Footage, specify options in the Pixel Aspect Ratio section, and

click OK. For information about options in the Conform To pop-up menu, see “Common pixel aspect ratios for imported files” on page 101.

Common pixel aspect ratios for imported files

It is important to set the pixel aspect ratio for a file at its original ratio, not the ratio of the final output. You can set pixel aspect ratios for clips and projects with these approximate values: Square Pixels Uses a 1.0 pixel aspect ratio. Use this setting if your source clip has a 640 x 480 or 648 x 486 frame size, or if the file was exported from an application that doesn’t support nonsquare pixels. D1/DV NTSC Uses a 0.9 pixel aspect ratio. Use this setting if your source clip has a 720 x 480 or 720 x 486 frame size and you want it to maintain a 4:3 frame aspect ratio. This setting can also be appropriate for clips that were exported from an application that works with nonsquare pixels, such as a 3D animation application. D1/DV NTSC Widescreen Uses a 1.2 pixel aspect ratio. Use this setting if your source clip has a 720 x 480 or 720 x 486 frame size and you want it to maintain a 16:9 frame aspect ratio. D1/DV PAL Uses a 1.0666 pixel aspect ratio. Use this setting if your source clip has a 720 x 576 frame size and you want it to maintain a 4:3 frame aspect ratio. D1/DV PAL Widescreen Uses a 1.4222 pixel aspect ratio. Use this setting if your source clip has a 720 x 576 frame size and you want it to maintain a 16:9 frame aspect ratio. Anamorphic 2:1 Uses a 2.0 pixel aspect ratio. Use this setting if your source clip was anamorphically transferred from a film frame with a 2:1 aspect ratio. D4/D16 Standard Uses a 0.9481481 pixel aspect ratio. Use this setting if your source clip has a 1440 x 1024 or 2880 x 2048 frame size and you want it to maintain a 4:3 frame aspect ratio. D4/D16 Anamorphic 8:3 Uses a 1.8962962 pixel aspect ratio. Use this setting if your source clip has a 1440 x 1024 or 2880 x 2048 frame size and you want it to maintain an 8:3 frame aspect ratio.

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Using square-pixel footage for output to DV

You can use square-pixel footage in a DV project and generate output that does not appear distorted. Adobe Premiere Pro either upsamples (increases) the resolution or downsamples (decreases) the resolution of a file that does not match the project frame size. Because downsampling results in a higher-quality image, it is best to create files that are larger than the project’s frame size so that Adobe Premiere Pro does not have to upsample and enlarge the file.

To use square-pixel files in a D1 or DV project:

1 Prepare footage using one of the methods following this procedure. 2 Capture or import the file into Adobe Premiere Pro.

Prepare square-pixel files for us in a D1 or DV project using one of the following methods.

• If your final output is DV (NTSC), create and save it at a 720 x 540 frame size to prevent

upsampling, or 640 x 480 to prevent field distortion on a field-rendered file (such as a 3D animation).

• If your final output is DV (PAL), create and save it at a 768 x 576 frame size to prevent

upsampling and field distortion on a field-rendered file (such as a 3D animation).

• If your final output is D1 (NTSC), create and save it at a 720 x 540 frame size.

• If your square-pixel file was created and saved at the frame size used by your project

(such as 720 x 480), but not at the pixel aspect ratio of the project, you’ll want to redesign your image using a different frame size (such as 720 x 540). This is necessary when the application you use to prepare the file doesn’t support nonsquare pixels.

File-size limitations

The Adobe Premiere Pro Timeline window can contain up to 24 hours of video; however, the actual file-size limitation is not determined by Adobe Premiere Pro but rather by your capture card, operating system, and hard disk. Check your capture card and hard disk documentation for information on support of large files. Hard disk formatting greatly affects the ability to handle large source clips. Files on a hard disk formatted using FAT32 are limited to 4 GB each, or about 18 minutes of DV footage. Files on a hard disk formatted as NTFS are not limited by the file system, although files will still be subject to limitations that may be imposed by other components of your videoediting system.

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Assembling a Sequence

Using the Monitor window

The Monitor window resembles a conventional edit bay’s video monitors and edit controller. The left side of the Monitor window, or Source view, displays source clips; the right side, or Program view, displays the active sequence. Controls under each view allow you to control playback and cue the current frame of a source clip or sequence. Other controls enable you to add clips to a sequence or remove frames from it. Once clips are in a sequence, you can also edit them in the Timeline window (see “Using the Timeline window” on page 114). To fine-tune, or trim, edits in a sequence, you can activate the Trim window from the Monitor window. The Trim window’s layout is similar to the Monitor window, but the Trim window is a standalone window with controls that are optimized for precisely adjusting a cut point between clips in a sequence (see “Using the Trim window” on page 156). To optimize screen space for certain editing tasks, or to customize the layout to your working style, you may also switch the Monitor window from its default Dual View, which displays the Source and Program views side by side, to Single View, which displays either the Source view or Program view only.

Monitor window showing Source view (left) and Program view (right)

Displaying a clip in Source view

To view and edit master clips listed in the Project window or individual clip instances in a sequence, open the clips in the Source view (left side) of the Monitor window. Recently

viewed clips are listed in the Source menu, a pop-up menu accessed by clicking the triangle next to the current clip’s name in the Source tab. The Source menu identifies master clips by name, and clips opened from a sequence are also identified by their sequence name and starting time in the sequence.

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Using Help | Contents | Index Back 104 To open a clip in Source view:

Do any of the following:

• Double-click the clip in the Project or Timeline window, or drag a clip from the Project

window to the Source view. The clip appears in the Source view and its name is added to the Source menu.

• Drag multiple clips or an entire bin from the Project window into the Source view, or

select multiple clips in the Project window and double-click them. Clips are added to the Source menu in the order in which they were selected, and the last clip selected appears in the Source view.

• Choose the name of the clip you want to see from the Source menu (click the triangle to

the left of the current clip’s name on the Source tab to make the pop-up menu appear).

Choosing a clip to view from the Source menu

To clear clips from the Source view and menu:

In the Source pop-up menu, choose any of the following:

• Close, to clear the current clip.

• Close All, to clear all clips.

You can also close the current clip by clicking the Close button in the Source tab.

Using Monitor window controls

The Source and Program views each contain a set of controls, many of which resemble the playback controls on a video deck. Though the playback controls in the Source view and Program view operate in a similar manner, they serve slightly different purposes:

• Use the Source controls (under the Source view) to play or cue a clip, set clip markers,

and specify the clip’s source In and Out points, which define the portion of the clip that will be added to the sequence.

• Use the Program controls (under the Program view) to play or view the active sequence,

to set sequence markers, and to specify a sequence’s In and Out points, which define where frames will be added or removed from the sequence.

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This section covers using both views’ controls for cueing and playing back footage. Controls for setting In and Out points and for adding or removing frames from a sequence are covered in “Using Monitor controls to perform three-point or four-point edits” on page 132 and “Removing parts of a sequence” on page 146. Most playback controls have keyboard equivalents. However, when you want to use keyboard shortcuts to control playback, first make sure that the view you want is active. Simply click the video image in the view you want to activate. When a view is active, the Monitor window displays blue bars above and below the video display area. You can also view frames by using the Monitor window’s time display. The number at the bottom left of each view’s video shows the current time for that view. The number next to the Duration icon below each view’s video indicates duration. The duration is the time difference between the In point and the Out point set for the corresponding view. When no In point is set, the starting time of the clip (for the Source view duration) or of the

sequence (for the Program view duration) is substituted. When no Out point is set, Source view substitutes the ending time of the clip to calculate duration, and the Program view substitutes the ending time of the last clip in the sequence to calculate duration.

Playback controls in the Monitor window

A. Go To In point B. Go To Out point C. Play In point to Out point D. Go To Previous Marker E. Frame back F. Play/Stop G. Frame forward H. Go To Next Marker I. Loop J. Jog disk K. Shuttle

slider

To play the Source or Program view:

Do any of the following:

• Click the Play button , or press L or the Spacebar. (To stop, click the Stop button or

press K or the Spacebar. The button and the Spacebar toggle between Play and Stop.)

• To play in reverse, press J.

• To play from the In point to the Out point, click the Play In To Out button .

• To play an entire clip or sequence repeatedly, click the Loop button , and then click the

Play button . Click the Loop button again to deselect it and prevent looping.

• To play from the In point to the Out point repeatedly, click the Loop button , and then

click the Play In To Out button . Click the Loop button again to deselect it and prevent looping.

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• To play faster, press J or L repeatedly. For most media types, the clip’s speed increases

from one to two to three to four times. Pressing J plays reverse; pressing L plays forward.

• To play slower, press Shift+J or Shift+L repeatedly. For most media types, the clip plays

in slow motion, from .1 to .2 times. Pressing J plays reverse; pressing L plays forward.

• To play around the current time, from preroll to postroll, Alt-click the Play In To Out

button. Pressing Alt changes the button to the Play Edit button .

To view a different frame:

Do any of the following:

• Click the current time display of the view you want to cue, and type the new time.

(You don’t need to type colons or semicolons. However, be aware that Adobe Premiere Pro interprets numbers under 100 as frames.)

• To go forward one frame, click the Frame Forward button .

• To go forward five frames, Shift-click the Frame Forward button .

• To go backward one frame, click the Frame Back button .

• To go backward five frames, Shift-click the Frame Back button .

• To go to the previous edit in a sequence’s target audio or video track (including the cut

point of transitions), click the Previous Edit button in the Program view.

• To go to the next edit in a sequence’s target audio or video track (including the cut

point of transitions), click the Next Edit button in the Program view.

Note: In this context, the term “edit” refers to where a clip begins or ends in a sequence; “target tracks” are the sequence’s video and audio tracks designated to accept new clips (see “Specifying source and target tracks” on page 128).

• To go to the beginning of the clip or sequence, press Home.

• To go to the end of the clip or sequence, press End.

For information about controlling playback in the Timeline window, see “Moving around in the Timeline window” on page 118.

To jog or shuttle through frames:

Do one of the following:

• Drag the shuttle slider left to play backward, or right to play forward. Playback speed

increases as you drag the slider farther from its center position. Releasing the slider returns it to the center position and stops playback.

• Drag the jog disk left or right, past the edge of the controller if necessary. If you drag to

the edge of the screen without reaching the end of the clip or sequence, you can continue from the same time position by dragging from the jog disk again.

Using Source view and Program view time ruler controls

Directly below each view’s video (and above the playback controls) is another set of controls, which include a time ruler and a viewing area bar. Like other controls found in both views of the Monitor window, each set of these controls operate similarly—but one applies to individual clips, the other to sequences.

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The full duration of a clip or sequence is represented graphically by its respective time ruler. Tick marks and numeric labels measure time using the counting method specified in the Project Settings (although you can toggle the program time ruler to display audio samples; see “Customizing a sequence’s time ruler” on page 114). The current frame of each view is indicated by a light blue triangle, or current-time indicator (CTI). Each ruler also displays icons for its corresponding view’s markers and In and Out points. You can adjust the current time, markers, and the In and Out points by dragging their icons in a time ruler. Just above each time ruler is a thin bar with curved, tapered handles called the viewing area bar. The viewing area bar corresponds with the visible area of the time ruler. You can drag the handles to change the width of the bar and thereby change the scale of the time ruler below. This way, expanding the bar to its maximum width reveals the entire duration of the time ruler, and contracting the bar zooms in for a more detailed view of the ruler. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale.

Note: Although the Program view’s current-time indicator corresponds with the currenttime indicator in the Timeline window, changing the Program view’s time ruler or viewing area bar does not affect the time ruler or viewing area in the Timeline window. See “Using the Timeline window” on page 114.

Time ruler controls in the Monitor window A. Time ruler B. Current-time indicator C. Viewing area bar

Using Monitor window view options

The Monitor window includes various options to help you customize your workspace and make judgments about the video image. Resizing the Monitor window dynamically resizes the video image displayed in each view. Or you can switch from the Monitor window’s default Dual View layout to one that displays the Program view only. To help you position elements on-screen, you can switch on safe zone guides. A magnification setting lets you examine the image in detail or zoom out when you need to see the off-screen pasteboard area. In addition, you can manually set the image’s quality setting, which can reduce rendering times.

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Customizing the Monitor window

By default, the Monitor window is set to Dual View, so that it includes a Source view on the left, and a Program view on the right. For certain editing tasks, you may want to optimize the workspace by setting the Monitor window to Single View. For example, when

performing tasks that don’t involve source clips, such as audio mixing, you might display the Program view only. You can also resize the Monitor window to any size between minimum and maximum limits. When you do, the video displays in both views scale accordingly.

To customize the Monitor window view:

Do any of the following:

• To limit the view to the Program view, choose Single View from

the Program view’s menu.

• To limit the view to the Source view, choose Single View from the Source view’s menu.

• To return to the side-by-side Source and Program view, choose Dual View from the

single view’s menu.

• To resize the Monitor window, drag the bottom right corner of the window. The source

and program video displays scale accordingly.

Viewing safe zones

You can view safe zone guides in the Monitor window’s Source view, Program view, or both. Safe zone guides are for your reference and are not included in previews or export. For more about safe zones, see “Understanding title-safe and action-safe margins” on page 196.

Safe zones in the Monitor window

A. Action-safe zone B. Title-safe zone

To view safe zones in the Monitor window:

Click the Safe Margins button below the Source or Program view. Click the button again to remove the safe zone guides. The standard action- and title-safe margins are 10% and 20%, respectively. However, you can change the dimensions of the safe zones in the Project Settings dialog box (see “Specifying project settings” on page 58).

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Choosing a Quality setting

By default, the Monitor window displays video at the highest quality. That is, it displays all the pixels of each frame. However, you can reduce the resolution of the Source or Program view to decrease the processing demands on your computer. For example, reducing the quality setting of the Program view may allow your system to create real-time previews of parts of the sequence that would otherwise require rendering (see “Previewing a sequence” on page 157).

To choose a Quality setting:

In the Source or Program view’s pop-up menu, choose a Quality setting:

• Highest Quality displays video in the Monitor window at full resolution.

• Draft Quality displays video in the Monitor window at one-half resolution.

• Automatic Quality measures playback performance and dynamically adjusts quality.

Note: Regardless of the Quality setting, the image in the Monitor window is processed at a lower quality than when you export the video. All Quality settings use a bilinear pixel resampling method to resize the video image and do not process interlaced fields, if present. For exporting a sequence, however, Adobe Premiere Pro uses a cubic resampling method (which is superior to bilinear) and processes fields.

Changing the magnification

By default, the Monitor window scales video to fit into the available area of the Source and

Program views. You can change the magnification setting for each view to see the video in more detail, or to increase the size of the pasteboard area around the image (to adjust motion effects more easily, for example). If the current size of the view can’t accommodate the entire video image, scroll bars appear in that view.

To change the magnification of a view:

Choose a magnification setting from the View Zoom Level pop-up menu in the Source or Program view. In the Source view, percentage values refer to the size of the source media. In the Program view, percentage values refer to the image size specified by the Project Settings. Fit scales the video to fit in the view’s available viewing area.

To change the visible area of a view:

Use the view’s scroll bars to change the visible area of the video image. Scroll bars appear when the current size of the view can’t contain the entire image.

Choosing a Display Mode setting

By default, Source and Program views display video as they ordinarily appear on a video monitor. However, you can also display the video’s alpha channel, or transparency information. In addition, you can evaluate the video’s brightness and color by displaying several iterations of measurement tools known as a vectorscope and waveform monitor. For more information on the waveform monitor and vectorscope, see “Understanding the waveform monitor and vectorscope” on page 111.

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Using Help | Contents | Index Back 110 To choose a Display Mode setting: 1 In the Source or Program view, click the Output button , or click the triangle at the top

right of the view.

2 In the pop-up menu, choose a Display Mode setting: Composite Displays the normal video. Alpha Displays transparency as a grayscale image. All Scopes Displays a waveform monitor, vectorscope, YCbCr Parade, and RGB Parade. Vectorscope Displays a vectorscope, which measures the video’s chrominance, which

includes hue and saturation. Waveform Displays a standard waveform monitor, which measures the video’s luminance in IRE. YCbCr Parade Displays a waveform monitor that measures the Y, Cb, and Cr components of the video separately, in IRE. RGB Parade Displays a waveform monitor that measures the R, G, and B components of the video separately, in IRE. Vect/Wave/YCbCr Parade Displays a waveform monitor, vectorscope, and YCbCr Parade. Vect/Wave/RGB Parade Displays a waveform monitor, vectorscope, and RGB Parade.

Program view set to Vect/Wave/YCbCr Parade A. Waveform monitor B. Vectorscope C. YCbCr Parade

To use the waveform monitor and vectorscope displays most effectively, view them in a reference monitor that is ganged to the Program view. See “Using a reference monitor” on page 112.

Understanding the waveform monitor and vectorscope

In order to faithfully digitize or reproduce video, postproduction and duplication facilities use hardware devices called waveform monitors and vectorscopes. Similarly, you can use the Adobe Premiere Pro software vectorscope and waveform monitor to accurately evaluate video levels—specifically, color and brightness. These instruments not only help you output a video program that meets broadcast standards but also assist you in making adjustments based on aesthetic considerations, such as color corrections.

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A waveform monitor is useful in measuring the brightness, or luminance component, of a video signal. The waveform monitor works something like a graph. The horizontal axis of the monitor corresponds to the video image. Vertically, the waveform measures luminance, in units called IRE (named for the Institute of Radio Engineers). Bright objects produce a waveform pattern (bright green areas) near the top of the graph; darker objects produce a waveform toward the bottom. For NTSC video in the United States, luminance levels should range from 7.5 to 100 IRE. Japan’s implementation of NTSC standards permits a luminance range from 0 to 100 IRE. A vectorscope measures the chrominance, or color components, of a video signal, including hue and saturation. A vectorscope maps a video’s color information onto a circular chart. Saturation is measured from the center of the chart outward. Saturated, vivid colors produce a pattern some distance from the center of the chart, while a blackandwhite image produces only a dot at the center of the chart. The particular color, or hue, of the image determines the angle of the pattern. Small boxes indicate where fully saturated magenta, blue, cyan, green, yellow, and red (present in a color bars test pattern) should appear. In NTSC video, chrominance levels should never exceed these target areas. You can use a number of video effects to adjust the video levels. See “Working with Standard effects” on page 244 for a full explanation.

Using a reference monitor

In certain circumstances, it can be useful to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes. You can do this by opening a reference monitor, which acts much like a secondary Program view.

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You can cue the frame of a sequence displayed in the reference monitor independently from the Program view. This way, you can cue each view to a different frame for comparison—to use the color matching filter, for example. Alternatively, you can gang the reference monitor and Program view together, so that they both show the same frame of a sequence, and move in tandem. This is especially useful for color correcting tasks. By setting the reference monitor’s viewing mode to a waveform monitor or vectorscope, you can make adjustments to the color corrector or any other video filter more effectively. For more about using the color matching filter or color correction filter, see “Using the Color Match effect” on page 256.

Using a reference monitor to aid in color correction

A reference monitor opens as a separate window, though you can save screen space by dragging its tab into the Source view of the Project window. You can specify the reference monitor’s quality setting, magnification, and viewing mode just as you would in the Monitor window. Its time ruler and viewing area bar also work the same. But because it’s

for your reference and not for editing per se, the reference monitor contains controls for cueing to frames, not for playback or editing. When you gang the reference monitor and Program views together, you can use the Program view’s playback controls. You may open only one reference monitor. For more about using Monitor window controls and viewing options, see “Using Monitor window controls” on page 105.

To open a reference monitor:

In the Monitor window pop-up menu, choose New Reference Monitor. The reference monitor opens in a separate window. If you want, you can drag the reference monitor’s tab into the Source view.

To gang the reference monitor and Program view:

Do one of the following:

• In the reference monitor, click the Gang button .

• In the reference monitor’s pop-up menu, choose Gang to Program view.

• In the Program view’s pop-up menu, choose Gang to Reference Monitor.

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Using the Timeline window

Whereas the Program view of the Monitor window displays a sequence as it will appear on a video monitor, the Timeline window represents a sequence graphically, showing placement of clips in a horizontal timeline of video and audio tracks. Each sequence in a project can appear as a tabbed window in a single Timeline window, or in a separate Timeline window (see “Working with multiple sequences and nested sequences” on page 135). You can add video source clips to any video track in a sequence, and audio clips to any compatible audio track. Transitions appear as objects between clips (see“Dragging transitions between clips” on page 163). Video tracks 2 and higher are used to superimpose clips (see “Compositing clips” on page 220). Similarly, additional audio tracks are used to mix audio. You can specify the type of audio channels supported by each audio track and decide how they are sent to a Master audio track. To achieve even greater control over the mixing process, you can create submix tracks (see “About audio channels and tracks” on page 173). You can perform a number of editing tasks directly in the Timeline window and customize it to best suit the task at hand or your personal style of working.

The Timeline window

A. Sequence tabs B. Time ruler C. Video track 2 D. Video track 1 E. Audio track 1 F. Audio track 2 G. Master audio track

Customizing a sequence’s time ruler

By default, each sequence’s time ruler starts at zero and measures time according to the video frame count you specified in the project settings. However, you can change the starting time of the sequence’s time ruler. For example, you may want to set the start time to match a master tape, which typically begins at 00;58;00;00, to accommodate a twominute leader before the standard program start time of 01;00;00;00 (see “Creating a counting leader” on page 86). To set more precise audio In points, you can toggle the time ruler between displaying time divisions based on frames and divisions based on audio samples. For more about using an audio sample time display, see “Setting sample-based audio In and Out points” on page 122.

To set a sequence’s starting time:

In the sequence pop-up menu, choose Sequence Zero Point, enter a starting timecode, and click OK. (The starting time must be a positive number.)

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Using Help | Contents | Index Back 114 To toggle the time ruler display between frames and audio samples:

In the sequence pop-up menu, choose Audio Units to make the time ruler display audio samples. Choose Audio Units again to return the ruler to counting video frames.

Customizing track views

You can view the clip contents of each track in the Timeline window in different ways, depending on your preference or the task at hand. You can display tracks as collapsed, so that they consume the least amount of vertical space in the Timeline window; or you can expand each track to reveal additional information about clips in the track. An expanded video track can display thumbnail images of each clip’s video, while an expanded audio track can display a visual representation of the audio contents, or audio waveform. You can also expand a video track to reveal clips’ effect keyframes (see “Using the Opacity and Volume effects” on page 242). Similarly, you can expand an audio track in order to use the audio fade line for either individual clips in that track or for the entire audio track (see “Adjusting gain or volume levels” on page 175). Expanded tracks reveal a video or audio Display Style button (according to the type of track) in the track header area of the Timeline window, and additional information in the clips in the sequence. Expanding a track also reveals controls for showing and navigating video and audio effect keyframes (see “Using the Opacity and Volume effects” on page 242).

To expand or collapse a track:

Click the triangle to the left of the track’s name.

To select a video track’s Display Style: 1 If necessary, expand the track. 2 Click the Display Style button , and choose an option from the pop-up menu:

• Show Head and Tail displays a thumbnail image at the beginning and end of clips in the

expanded track.

• Show Head Only displays a thumbnail image at the beginning of the clips in the

expanded track.

• Show Frames displays thumbnail images along the entire duration of the clips in the

expanded track. The number of thumbnail frames corresponds to the time units displayed in the time ruler.

• Show Name Only displays the name of clips in the expanded track, without thumbnail

images.

To show or hide audio waveforms in an audio track: 1 If necessary, expand the track. 2 Click the Display Style button , and, and choose an option from the pop-up menu:

• Show Waveform displays audio waveforms in clips.

• Show Name Only displays the name of audio clips without waveforms.

Note: For more about viewing and adjusting keyframes in video and audio tracks, see“Using the Opacity and Volume effects” on page 242.

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Resizing Tracks

You can resize the width of the track header area to accommodate long track names and resize the height of expanded tracks to better view icons or control keyframes. Additionally, you can adjust the relative proportion of visible video and audio tracks to favor the tracks you need to see. This feature is most useful when more video or audio tracks are in the sequence than can be visible in the Timeline window at one time.

To resize the track header section of the Timeline window:

Position the pointer over the right edge of the track header (where track names are listed) so that the resize tool appears, and then drag the right edge. The icons at the top of the track header limit its minimum width. The maximum width is about twice the minimum width.

To resize the height of a track: 1 If necessary, expand the track by clicking the triangle next to the track’s name. 2 In the track header area of the Timeline window, position the pointer between two

tracks so that the Height Adjustment icon appears; then drag up or down to resize the track below (for video) or the track above (for audio).

Note: Collapsed tracks always appear at the same height and cannot be resized.

To change the proportion of video and audio tracks visible in the Timeline window: 1 Either in the track header area on the left or between the scroll bars on the right,

position the pointer between the Video 1 and Audio 1 tracks.

2 When the split track tool appears , drag up or down.

Excluding tracks

You can exclude any track from previews and export. Clips in excluded video tracks do not appear in the Program view; clips in excluded audio tracks are not output to the Audio Mixer window or to the speakers.

To exclude a track in a sequence:

Click to hide the Eye icon (for video) or the Speaker icon (for audio) at the left edge of the track. (Each icon is a toggle switch. Click its box again to display the icon and include the track.)

To exclude all video or all audio tracks:

Shift-click to hide the Eye icon (for video) or the Speaker icon (for audio). This excludes all tracks of the same type. (Each icon is a toggle switch. Shift-click its box again to display all the icons and include the tracks.)

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Locking and unlocking tracks

Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In the Timeline window, a pattern of slashes appears over a locked track. Although clips in a locked track cannot be modified in any way, they are included when you preview or export the sequence. If you want to lock both a video track and a track with corresponding audio, lock each track separately. When you lock a target track, it is no longer the target; source clips cannot be added to the track until you unlock it and target it again (see “Specifying source and target tracks” on page 128). You can lock a track to prevent it from shifting when you perform insert edits. See “Adding clips to a sequence” on page 127.

To lock a track:

Click to display the Lock icon next to the track name.

An unlocked track (top) and locked track (bottom)

Adding, renaming, and deleting tracks

You can add or delete tracks at any time and specify a custom name for each one. Each sequence can contain up to 99 video and 99 audio tracks. However, a sequence must contain at least one of each type of track, and sequences with audio tracks must also contain a master audio track, where the output of regular audio tracks is directed for mixing. You can also create audio submix tracks, through which you can direct other audio tracks before eventually reaching the master audio track (see “Working with submixes” on page 187). In the Timeline window, new video tracks appear above existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clips in the track but does not affect source clips listed in the Project window. You can specify the default number and type of tracks in new sequences. See “Working with multiple sequences and nested sequences” on page 135.

To add tracks: 1 With the Timeline window active, choose Sequence > Add Tracks. 2 In the Add Tracks dialog box, do any of the following:

• To add tracks, type the number of tracks you want to add in the Add field for video,

audio, and audio submix tracks.

• To specify the placement of added tracks, choose an option from the Placement pop-up

menu for each type of track added.

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• To specify the type of audio track you want to add, choose an option from the Track

Type pop-up menu for audio and audio submix tracks. (For more about audio channel types, see “About audio channels and tracks” on page 173.) 3 Click OK. An audio track can accept only audio clips that use the matching channel type— mono, stereo, or 5.1. If you’re not sure what kind of audio your clips use, select the clip in the Project window and read its information in the preview area (see “Viewing clip information in the Project window” on page 46).

To rename a track: 1 Double-click the track’s name to select it. 2 Type a new name for the track, and press Enter.

You can add a track as you add a clip to the sequence. See “Dragging clips into a sequence” on page 130.

To delete tracks: 1 Click in the track header area to select the track you want to delete. You can target one

video and one audio track at a time.

2 With the Timeline window active, choose Sequence > Delete Tracks. 3 In the Delete Tracks dialog box, check the box for each type of track you want to delete. 4 For each checked item, specify which tracks you want to delete in the pop-up menu.

Moving around in the Timeline window

In the Timeline window, the time ruler measures sequence time horizontally, using the counting method specified in the project settings (although you may toggle to a counting method based on audio samples at any time). Tick marks and numbers indicating the sequence time are displayed along the ruler and change according to the level of detail at which you view the sequence. The time ruler also displays icons for the sequence In and Out points. The lower part of the time ruler contains any sequence markers you set, as well as the work area bar, which is used to specify areas of the sequence you want to preview

or export (see “Previewing a sequence” on page 157). The Timeline window’s current-time indicator, a blue marker in the time ruler, corresponds with the frame displayed in the Monitor window’s Program view. A vertical line extends from the Timeline window’s current-time indicator to the bottom of the time ruler. You can change the current time by dragging the current-time indicator (the blue marker), but the vertical line is for your reference only. You can also use the time display at the top left of the Timeline window to set the current frame, either by entering a time or by dragging on the time display. Just above the time ruler is the Timeline window’s viewing area bar. The viewing area bar corresponds to the visible part of the sequence in the Timeline window. You can change the size and position of the viewing area bar to quickly view different parts of the sequence.

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At the bottom left of the Timeline window, zoom controls also let you change the scale of the time ruler and view the sequence in more or less detail.

Time navigation controls in the Timeline window

A. Current-time indicator B. Viewing area bar C. Work area bar D. Time ruler E. Zoom out F. Zoom slider G. Zoom in

To position the current time in the Timeline window:

Do any of the following:

• In the time ruler, drag the current-time indicator or click where you want to position the

current-time indicator.

• At the left of the Timeline window, drag the time display.

• At the left of the Timeline window, click the time display, type a valid time, and press

Enter.

• In the Monitor window, use any playback control in the Program view. See “Using

Monitor window controls” on page 105.

To display the sequence in more detail:

Do one of the following:

• Select the zoom tool , and then click or drag a marquee selection around the part of

the sequence you want to see in more detail.

• Drag the zoom slider to the right, or click the Zoom In button .

• In the Timeline window, drag the ends of the viewing area bar closer together.

To display more of the sequence in the Timeline window:

Do one of the following:

• Select the zoom tool , and then Alt-click an area in the Timeline window.

• Drag the zoom slider to the left, or click the Zoom Out button .

D C B A E G F

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• In the Timeline window, drag the ends of the viewing area bar farther apart.

Dragging the ends of the viewing area bar closer together to zoom into the time ruler

Setting In and Out points

There are several ways to build a sequence, but all of them involve selecting the portions of source clips you want to include, and when you want them to appear. You define the first frame you want to include in a sequence by marking that frame as the clip’s In point; you define the last frame you want to include by marking it as the Out point. You can specify when you want a given clip to start and end in a sequence either by dragging the

clip to the Timeline window or by setting sequence In and Out points. (But as you will see in “Adding clips to a sequence” on page 127, you do not always need to set all four points to perform the edit.) Even after clips are arranged in a sequence, you can adjust their In and Out points—a process known as trimming—using a variety of techniques described in “Trimming clips in the Timeline window” on page 148. For more information on assembling sequences, see “Using Monitor controls to perform three-point or four-point edits” on page 132.

Setting, navigating, and removing In and Out points in the Monitor window

Regardless of the editing method you use to add source clips to a sequence, you generally set their In and Out points beforehand, using controls in the Source view. If you employ editing methods known as three-point and four-point editing, you’ll also need to mark In and Out points in the sequence, using similar controls in the Program view. Once a clip is in a sequence, you can reopen it in the Source view to change its In and Out points. Similarly, you can set In and Out points in the Program view to define parts of a sequence you want to remove. Though they serve different purposes, controls for setting and cueing In and Out points work the same in both views.

Note: There are numerous other ways to adjust the In and Out points of clips in a sequence. This section covers using controls in the Monitor window only. “Trimming clips in the Timeline window” on page 148 explains other methods.

To set In and Out points using the Source or Program view: 1 Do one of the following:

• To set In and Out points for a source clip, open a clip from a Project window.

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• To set In and Out points in the sequence, click the Program view.

2 Do one of the following:

• To mark an In point, go to the frame you want, and then click the Set In button .

• To mark an Out point, go to the frame you want, and then click the Set Out button .

To set sequence In and Out points around a selection: 1 In the Timeline window, select a clip or gap in the sequence. 2 Choose Marker > Set Sequence Marker > In and Out Around Selection. This sets

sequence In and Out points that match the selection’s In and Out points. This command is particularly useful when replacing or removing clips in the sequence using three- and four- point editing methods. See “Using Monitor controls to perform three-point or four-point edits” on page 132 and “Removing a clip or a range of frames from the sequence” on page 147.

To cue the current frame to an In or Out point:

Do one of the following:

• To cue the current time to an In point, click the Go To In Point button .

• To cue the current time to an Out point, click the Go To Out Point button .

Note: To go to the beginning or end of clips in the sequence, use the Go To Next Edit button and the Go To Previous Edit button . See “Using Monitor window controls” on page 105.

To move both the In and Out points without changing the duration:

In either view’s time ruler, or in the Timeline window’s time ruler, drag the textured area at the center of the shaded span between the In and Out points. Make sure that you drag the textured area; otherwise, you simply cue the current-time indicator.

To remove In and Out points in the Source or Program view: 1 Do one of the following:

• To delete In or Out points from a clip, select the Source view.

• To delete In or Out points from a sequence, select the Program view.

2 Depending on the type of marker you want to remove, choose Marker > Clear Clip Marker or Marker > Clear Sequence Marker, and choose an option in the submenu:

• In and Out resets both the In and Out point.

• In resets the In point only.

• Out resets the Out point only

By default, you can also clear an In or Out point by Alt-clicking the Set In button or the Set Out button , respectively.

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Setting In and Out points for split edits

Ordinarily, you set one In point and one Out point for a source clip. Even if it’s a linked clip—a clip containing video and audio tracks—In and Out points apply to both tracks of the clip. Sometimes you want to set the video and audio In or Out points independently, however, in order to create split edits (also known as L-cuts and J-cuts). Although it’s more common to create split edits after clips are assembled into a rough cut, it’s possible to set up a split edit in the Source view before adding a clip to the sequence.

To set source In and Out points for a split edit: 1 Open a clip in the Source view, and set the current time to the frame you want to set as

a video or audio In or Out point. 2 In the Source view, click the Marker button, choose Set Clip Marker, and select Video In, Video Out, Audio In, or Audio Out. 3 Repeat steps 1 and 2 to set the remaining video and audio In and Out points. (When you add the clip to a sequence, the video portion starts and ends at different times than the audio.)

Setting sample-based audio In and Out points

In and Out points are set at timebase divisions—that is, between video frames. Although frame-based edits are usually adequate for audio as well, some audio edits require greater precision. For example, you may want to place an In point between two words in a sentence, but the tiny division between words doesn’t conveniently fall between frames. Fortunately, digital audio isn’t divided into frames, but into audio samples, which occur far more frequently. By switching the Source view’s or sequence’s time ruler to audio samples, you can set much more precise audio In and Out points. When you switch a time ruler to audio units, drag the current-time indicator in the view’s time ruler to navigate smoothly through the clip. (The frame forward and frame back buttons always use video frames.) In the Source view’s time ruler, you can use the viewing area bar to zoom into the time ruler to the sample level and view a very detailed audio waveform. Similarly, you can use the Timeline window’s zoom tools to view an audio clip’s waveform at the sample level.

Source view of the Monitor window set to display audio units for more precise editing of an audio clip

To use audio samples in the Source or Program view:

In the Source or Program view pop-up menu, choose Audio Units.

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To use audio samples in the Timeline window: 1 In the Timeline window’s pop-up menu, choose Audio Units. The time rulers in the

Timeline window and Program view switch from a frame-based to a sample-based scale. 2 If necessary, expand the audio track containing the clip you want to edit, click the Set Display Style button, and choose Show Waveform. 3 View the audio In point or Out point of the clip you want to edit in detail by dragging the zoom slider to the right (or by using any other method to magnify the proper clip). When the Alignment mode is set to audio samples, you can zoom to the sample level of detail. 4 Trim the clip by doing one of the following:

• To adjust the In point, position the pointer over the left edge of the clip’s audio so that

the trim head tool appears, and drag left or right.

• To adjust the Out point, position the pointer over the right edge of the clip’s audio so

that the trim tail tool appears, and drag left or right. 5 Use the waveform display or play the audio to make sure that you adjusted the In point properly.

Note: For more about trimming clips in the sequence, see “Trimming clips in the Timeline window” on page 148.

Using markers

Markers indicate important points in time and help you position and arrange clips. Each sequence and each clip can individually contain up to 100 numbered markers (labeled from 0 to 99) and as many unnumbered markers as you want. In the Monitor window, markers appear in each view’s time ruler as small icons. Clip markers also become icons within the clip as it appears in the timeline, and sequence markers appear in the sequence’s time ruler. In general, use clip markers to signify important points within an individual clip (to identify a particular action or sound, for example); use sequence markers to specify significant time points in terms of a sequence.

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Working with markers is much the same as working with In and Out points; however, markers are only for reference and do not alter the video (except for markers set up as Web links). In addition to setting markers, you can use commands to remove markers and to cue the current time to the next, previous, or numbered marker.

Marker icons in the Timeline window

A. Clip marker B. Sequence marker

Adding and changing markers

When setting markers (as with In and Out points) make sure that you’re working with the version of the clip you want (see “Using source clips, clip instances, and duplicate clips” on page 47). Markers added to a source clip (opened from the Project window) also appear in the clip when you add it to the sequence. But changing a source clip’s markers doesn’t affect individual instances of the clip already in a sequence, or vice versa.

To add an unnumbered clip marker: 1 Do one of the following:

• To add a marker to a master clip, double-click the clip in the Project window to open it

in the Source view.

• To add a marker to a clip in the sequence, double-click the clip to open it in the Source

view.

2 Go to the time location where you want to set the marker.

3 In the Source view, click the Set Unnumbered Marker button . 4 To add an unnumbered sequence marker: 5 Set the current time in the sequence by doing one of the following:

• Use the playback controls in the Program view.

• Drag the current-time indicator in the time ruler area of the Timeline window.

6 Set an unnumbered marker by doing one of the following:

• Click the Set Unnumbered Marker button .in the Program view.

• Click the Set Unnumbered Marker button . in the Timeline window.

You can also drag a marker from the Timeline window’s marker button to any point in the time ruler.

B A

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Using Help | Contents | Index Back 124 To add a numbered or unnumbered marker: 1 Do one of the following:

• To set a clip marker, open a clip in source view.

• To set a sequence marker, select the Program view or Timeline window.

2 Depending on the type of marker you want to set, choose Marker > Set Clip Marker or Marker > Set Sequence Marker, and choose an option in the submenu:

• Unnumbered sets a blank marker.

• Next Available Numbered sets a numbered marker using the lowest unused number.

• Other Numbered opens a dialog box in which you can specify any unused number from

0 to 99. You can also add a marker to a clip in a sequence by selecting the clip, positioning the Timeline window’s current-time indicator on the frame you want, and choosing an option from the Marker menu.

To go to a clip marker in the Source view: 1 Open a clip in the Source view. 2 Do one of the following:

• To go to the previous marker, click the Go To Previous Marker button in the Source

view.

• To go to the next marker, click the Go To Next Marker button in the Source view.

To go to a clip or sequence marker in the Timeline window: 1 Do one of the following:

• To cue the current-time indicator to a clip marker, select the clip in the sequence.

• To cue the current-time indicator to a sequence marker, select the Program view or

Timeline window. 2 Choose Marker > Go to Clip Marker, and choose the marker you want from the submenu. To use markers to help position clips, use the Snap command in the Timeline window menu, or select the Toggle Snap button (see “Moving clips in a sequence” on page 147).

Moving and deleting markers

To change the markers in a clip already in the sequence, open that particular instance of the clip in Source view and make changes there. You can’t manipulate clip markers in the Timeline window directly. Sequence markers, on the other hand, can be dragged in either the Program view or Timeline window’s time ruler. Sequence markers do not shift when you perform insert edits.

To move a marker:

Do one of the following:

• In the Source view or Program view’s time ruler, drag the Marker icon .

• In the Timeline window’s time ruler, drag the marker to a new position.

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Dragging beyond either edge of a time ruler scrolls the time ruler. As usual, scrolling the Program window’s time ruler doesn’t affect the view of the sequence in the Timeline window, or vice versa. Dragging a marker in the Source or Program view’s time ruler moves the corresponding marker icon in the Timeline window.

Note: You can’t move a clip marker by dragging it directly in the Timeline window; you must open the clip in the Source view and drag the marker in the Source view’s time ruler.

To insert unnumbered markers while a clip or sequence plays, play the clip and press the asterisk key (*) on the numeric keypad whenever you want to insert a marker.

To delete a marker: 1 Do one of the following:

• To delete a clip marker, select the clip in the sequence, and cue the current-time

indicator to the clip marker.

• To delete a sequence marker, make sure that no clips are selected in the sequence, and

cue the current-time indicator to the sequence marker. 2 Depending on the type of marker you want to delete, choose Marker > Clear Clip Marker or Marker > Clear Sequence Marker, and choose an option in the submenu:

• Current Marker deletes the marker at the current time.

• All Markers deletes all markers in either the clip or sequence (depending on the view

you’re using).

• Numbered deletes a numbered marker from a list of all numbered markers.

Note: You can’t remove a sequence marker by dragging it away from the time ruler.

Using sequence markers for comments, chapter links, and Web links

In addition to merely indicating important frames of a sequence, sequence markers can also contain comments you want to associate with the marker. Sequence marker comments work like tool tips; they appear in a small box whenever you position the pointer over the marker in the time ruler. If your sequence is intended for DVD or the Web, you can use markers to specify Web links or chapter links. Web links initiate a jump to a Web page in your browser, and chapter links initiate a jump to a chapter in a QuickTime movie or DVD. When using markers for URL links and chapter markers, you can set sequence markers to be longer than one frame in duration. In the Timeline window, the right side of a sequence marker’s icon extends to indicate its duration. For details about these options, see “About marker duration” on page 127, “About chapter links” on page 127, and “About Web links” on page 127.

To insert comments and specify links at sequence markers: 1 In the Timeline window’s time ruler, double-click a marker to open the Marker dialog

box. 2 Do any of the following:

• To create a comment, type a message in the Comments field.

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• To change the duration of the marker, drag the duration value or click the value to

highlight it, type a new value, and press Enter.

• To create a chapter link, enter the chapter name and number in the Chapter field.

• To create a Web link, enter a URL and Frame Target.

3 To enter comments or specify options for other sequence markers, click Prev or Next. 4 Repeat steps 2–3 until you are finished modifying sequence markers, and click OK.

About marker duration

The default duration for marker comments is one frame, but you can increase the duration to help create chapter and Web links. In the Timeline window, the right edge of a marker’s icon is extended to indicate its duration.

About chapter links

You can also create a sequence marker as a chapter reference point, similar to chapters used in CD-ROM and DVD discs. Like the chapters of a book, a chapter link divides a movie into segments. Chapter links are supported in QuickTime movies and DVD.

Note: DVD authoring programs such as Adobe Encore DVD adhere to DVD guidelines that restrict the proximity of chapter links. When setting markers for use as chapter links, make sure to space them at least 15 frames apart, or by the amount required by your authoring software. Otherwise, your authoring program may move the chapter links automatically.

About Web links

By typing a Uniform Resource Locator (URL) under Web Links in the Marker dialog box, you create an automatic link to that site at the marker’s location in the sequence. Adobe Premiere Pro embeds this information within movies. When these movies are included in Web pages created by programs such as Adobe GoLive recognized at playback, initiating a jump to the specified page. You can further define the link by typing a specific frame number within the site for Target Frame. Web link markers work only with sequence markers and supported output formats, such as QuickTime.

®, the embedded URL is

Adding clips to a sequence

You usually add clips to a sequence either by dragging or by using editing controls in the Monitor window. Some editors favor the drag-and-drop method because they find a graphical, mouse-oriented approach easier and more intuitive. Others prefer using the Monitor window’s editing controls to take advantage of keyboard shortcuts; this allows them to perform most edits entirely within the Monitor window, without switching to the Timeline window. You can use either method at any time and can switch between them. Alternatively, you can have Adobe Premiere Pro automatically assemble the sequence according to how you arrange or select the clips in the Project window.

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About insert and overlay edits

Whether you drag clips or use Monitor window controls, you can choose to perform an insert edit or overlay edit. In an insert edit, adding a clip to the sequence forces any clips later in time to shift forward to accommodate the new clip. An insert edit can be compared to splicing a shot into a film sequence. In an overlay edit, adding a clip replaces any frames already in the sequence at the new clip’s destination. Overlay edits can be compared to videotape editing, in which you can record over existing material.

Note: Unless you use a keyboard modifier, overlay edits are the default mode when dragging clips to a sequence.

An insert edit shifts clips in all unlocked tracks. To prevent an insert edit from shifting

clips in another track, lock the track.

Clips before an overlay edit (top) and after an overlay edit (bottom) Clips before an insert edit (top) and after an insert edit (bottom)

Specifying source and target tracks

Before you add a clip to a sequence, you must decide which source tracks you want to use: video, audio, or both. You must also determine the target tracks—that is, which tracks the clip will occupy in a sequence (which can have numerous video and audio tracks).

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You can specify the source tracks you want to use in the Source view of the Monitor window. The Take Video/Take Audio button toggles between three states: the Take Video button , the Take Audio button , and the Take Video and Audio button . For clips that contain only video or audio, only the corresponding option is available. When dragging clips directly from the Project window, all available tracks are added to the sequence. The way you specify target tracks depends on the editing method you use. When you add a clip to a sequence by dragging, you determine the target track by where you drag. You can drag video clips to any video track; however, you can drag audio clips only to a compatible audio track. Audio clips can’t be added to the master audio track or submix tracks, and they can be placed only on audio tracks of the matching channel type: mono, stereo, or 5.1 (see “About audio channels and tracks” on page 173). Clips with linked video and audio can be dragged to either a video or an audio track, but the clip’s video and audio components appear separately, in the appropriate corresponding tracks. When you add clips to a sequence using Monitor window controls (or keyboard shortcuts), you must specify target tracks in advance. In the track header area of the Timeline window (where track names are located), the target tracks appear darker than the other tracks and have curved outer corners. Simply click in the track header area to target a new track. You can’t target more than one video track or more than one audio track at a time. However, you can choose to target a video track only or an audio track only.

Note: The source track and target tracks affect a clip only during the process of adding it to a sequence. They don’t otherwise change the state of clips or their source media.

You can’t target a locked track. Similarly, locking a target track deselects it as the target. See “Locking and unlocking tracks” on page 117.

To specify source tracks: 1 Open a clip in the Monitor window’s Source view. 2 In the Source view, click the Take Video/Take Audio button repeatedly, until it displays

the appropriate icon:

• The Take Video And Audio icon includes both video and audio tracks in the sequence.

• The Take Video icon includes video only in the sequence.

• The Take Audio icon includes audio only in the sequence.

To specify a target track:

Do one of the following:

• Click the track you want to target in the track header area of the Timeline window. The

track header area of the target track appears darker than other tracks.

• Click a targeted track to deselect it and prevent clips from being added to the track

when you perform edits using the Monitor window controls (see “Using Monitor controls to perform three-point or four-point edits” on page 132).

Note: You can drag a clip to any unlocked, compatible track in a sequence, no matter which tracks are currently targeted.

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Dragging clips into a sequence

The most direct and intuitive way to assemble clips into a sequence is by dragging them from the Project window or Source view to the appropriate track in the Timeline window. The video and audio components of linked clips appear in corresponding tracks in the sequence (Video 1 and Audio 1, for example), unless the audio channel type of the clip is incompatible with the target track. In this case, the linked audio appears in the next compatible track, or a compatible track is created automatically. The Program view can help you determine where to position a clip you’re adding to a sequence. During an overlay edit, it displays the frames in the sequence adjacent to the new clip’s head and tail. During an insert edit, it displays the frames adjacent to the insertion point.

Note: An audio clip dragged to an incompatible track automatically shifts to the next compatible track, even if the track is occupied by another audio clip. Therefore, take care not to disturb clips already in the sequence inadvertently.

To add a clip by dragging to the Timeline window: 1 Open a clip in the Source view, and mark its In and Out points. (See “Setting In and Out

• To perform an overlay edit, drag the clip from the Source view to the Timeline window

at the point you want the clip to start in an appropriate track of the sequence. The destination area is highlighted, and the pointer appears with the Overlay icon .

• To perform an insert edit, Ctrl-drag the clip from the Source view to the Timeline

window at the point you want the clip to start in an appropriate track of the sequence. The destination area is highlighted, and the pointer appears with the Insert icon . Arrows appear at the insertion point in all tracks.

• To perform an insert edit and shift only target tracks, Ctrl+Alt-drag the clip from the

Source view to the Timeline window at the point you want the clip to start in an appropriate track of the sequence. The destination area is highlighted, and the pointer

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appears with the Insert icon . Arrows appear at the insertion point only in the tracks to which the clip is added.

Dragging performs an overlay edit, as indicated by the Overlay icon. Ctrl-dragging performs an insert edit, as indicated by the Insert icon and insertion arrows in all tracks. Ctrl+Alt-dragging inserts the clip and shifts only the target tracks, indicated by the arrows.

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Note: To make clip edges (their In and Out points) align when you drag them, make sure that the Toggle Snap button is active. For more about the snap feature, see “Moving clips in a sequence” on page 147.

If you don’t want to set In and Out points before you drag a clip to the sequence (or if you want to use the most recent In and Out points), you can drag the clip directly from a Project window to a track in the sequence.

To add a track while adding a clip:

Drag a clip from the Project window or Source view into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip). Adobe Premiere Pro adds an audio track, a video track, or both, depending on the content of the source clip.

Note: If the sequence doesn’t have an unlocked track of the correct media type (for example, a stereo audio track for a stereo source clip), Adobe Premiere Pro automatically creates a track to accommodate the clip. The same holds true when moving clips from one track into another (see “Moving clips in a sequence” on page 147).

To add a clip by dragging into the Program view: 1 Open a clip in the Source view, and mark its In and Out points. (See “Setting In and Out

points” on page 120.) 2 Specify the source tracks you want to include by clicking the Take Video/Take Audio button until its icon indicates the tracks you want to use (video, audio, or video and audio). 3 Specify the target tracks by clicking near the track name in the track header area. The track header area of targeted tracks appears darker than other tracks, and its outer corners are curved. 4 Using the playback controls in the Program view or in the Timeline window, set the current-time indicator to the time you want to add the clip in the sequence (see “Using Monitor window controls” on page 105 or “Moving around in the Timeline window” on page 118). 5 Do one of the following:

• To perform an overlay edit, drag the clip from the Source view to the Program view. In

the Program view, the pointer becomes the Overlay icon .

• To perform an insert edit, Ctrl-drag the clip from the Source view to the Program view.

In the Program view, the pointer becomes the Insert icon . To prevent an insert edit from shifting clips in another track, lock the track.

Using Monitor controls to perform three-point or four-point edits

The Monitor window provides controls to perform three-point and four-point edits, standard techniques in traditional video editing.

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In a three-point edit, you mark either two In points and one Out point, or two Out points and one In point. You don’t have to actively set the fourth point; it’s inferred by the other three. For example, in a typical three-point edit you would specify the starting and ending frames of the source clip (the source In and Out points), and when you want the clip to begin in the sequence (the sequence In point). Where the clip ends in the sequence—the unspecified sequence Out point—is automatically determined by the three points you defined. However, any combination of three points accomplishes an edit. For example, sometimes the point a clip ends in a sequence is more critical than where it begins. In this case, the three points include source In and Out points, and a sequence Out point. On the other hand, if you need the clip to begin and end at particular points in the sequence— say, perfectly over a line of voice over narration—you could set two points in the sequence, and only one point in the source. In a four-point edit, you mark source In and Out points and program In and Out points. A four-point edit is useful when the starting and ending frames in both the Source and Program are critical. If the marked source and program durations are different, Adobe Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it.

To perform a three-point edit:

1 Specify the source and target tracks (see “Specifying source and target tracks” on

page 128). 2 In the Source and Program views, mark any combination of three In and Out points (see “Setting, navigating, and removing In and Out points in the Monitor window” on page 120). 3 Do one of the following:

• To perform an insert edit, click the Insert button .

• To perform an insert edit and shift clips in target tracks only, Alt-click the Insert button

• To perform an overlay edit, click the Overlay button .

To perform a four-point edit: 1 Specify the source and target tracks (see “Specifying source and target tracks” on

page 128). 2 Using the Source controller, mark an In point and an Out point for the source clip. Then use the Program controller to mark an In point and Out point for the program. (See “Setting, navigating, and removing In and Out points in the Monitor window” on page 120). 3 Click the Insert button or the Overlay button .(optional) To shift target tracks only during an insert edit, Alt-click the Insert button. 4 If the marked source and program durations differ, select one of these options when prompted:

• Change Clip Speed (Fit to Fill) maintains the source clip’s In and Out points, but changes

the clip’s speed so that its duration matches the duration determined by the sequence In and Out points.

• Trim Clip’s Head (Left Side) automatically changes the source clip’s In point so that its

duration matches the duration determined by the sequence In and Out points.

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• Trim Clip’s Tail (Right Side) automatically changes the source clip’s Out point so that its

duration matches the duration determined by the sequence In and Out points.

• Ignore Sequence In Point disregards the sequence In point you set, and performs a

three-point edit.

• Ignore Sequence Out Point disregards the sequence Out point you set, and performs a

three-point edit.

Adding clips from the Project window automatically

To quickly assemble a rough cut or add to an existing sequence, use the Automate To Sequence command. Automate To Sequence automatically adds a selection of clips from the Project window or bin to a sequence. This method works particularly well if you set the Project window to Icon view and arrange the clips in their proper order, as in a storyboard (see “Customizing the Project window display” on page 50).

Note: The Automate To Sequence command adds only selected clips or clips contained in a bin; it can’t add clips in nested bins or selected sequences (see “Working with multiple sequences and nested sequences” on page 135).

Choosing Automate To Sequence displays the Automate To Sequence dialog box, which provides the following options: Ordering Specifies the method used to determine the order of the clips when they are added to the sequence. If you choose Sort Order, Adobe Premiere Pro adds clips in the order they’re listed in the Project window: from top to bottom in List view; or from left to right, top to bottom in Icon view. If you choose Selection Order, clips are added according to the order in which you selected them in the Project window.

Placement Specifies how clips are placed in the sequence. If you choose Sequentially, clips are placed one after another. If you choose At Unnumbered Markers, clips are placed at unnumbered sequence markers. Choosing At Unnumbered Markers makes the Transitions options unavailable. Method Specifies the type of edit to perform. Choose Insert Edit to add clips to the sequence starting at the sequence’s current time using insert edits, which shift existing clips forward in time to accommodate the new material. Choose Overlay Edit to use overlay edits, which allow the new material to replace clips already in the sequence.

Note: The Automate To Sequence command disregards target tracks and always uses video1 and audio1.

Clip Overlap Specifies the duration of the transition and how much to adjust the clips’ In and Out points to compensate for it when Use Default Transition is selected. For example, a value of 30 frames trims the clips’ In and Out points 15 frames at each edit, where a 30frame transition is added. The default value of this option is 15 frames. A pop-up menu lets you set the units to Frames or Seconds. Use Default Transition When checked, places the default transition (defined in the Effects window) at each edit. This option is selected by default. Use Default Transition is available only when the Placement option is set to Sequentially, and has no effect when the Clip Overlap option is set to 0. See “Using default transitions” on page 162.

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Using Help | Contents | Index Back 134 Perform Audio Cross Fade When checked, creates an audio cross-fade at each audio

edit, using the default audio transition (defined in the Effects window). Perform Audio Cross Fade is available only when audio tracks are present in selected clips, and the Placement option is set to Sequentially. It has no effect when the Clip Overlap option is set to 0. Ignore Audio When checked, ignores the audio in clips selected to be automated to the sequence.

To add clips using Automate To Sequence: 1 To prepare the clips for automation, do one of the following:

• Arrange them in the Project window, preferably in a single bin, using any of the

methods described in “Customizing the Project Window display.”

• Set In and Out points to define their starting and ending points.

2 Select the clips you want to add to the sequence either by Ctrl-clicking them or by dragging a selection marquee around them.

3 In the Project window, click the Automate To Sequence button . 4 Choose the appropriate options in the Automate To Sequence dialog box,

and then click OK.

Working with multiple sequences and nested sequences

Adobe Premiere Pro not only allows you to create multiple sequences in a single project but also permits you to nest sequences inside other sequences. In other words, an entire sequence of clips can act as a single clip in another sequence within the same project. Before you begin to arrange clips into a sequence, you should understand the important implications of these powerful features. The ability to use multiple and nested sequences increases your flexibility, expands your editing capabilities, and greatly influences your workflow.

Using multiple sequences

A single project can contain multiple sequences. These appear as tabs within the Program

view of the Monitor window, and in the Timeline window. Tabs make it easy to switch between sequences, though you can also “tear away” a tab to view a sequence in its own window (see “Using tabs in windows” on page 45). Bear in mind that all the sequences in a project must share the same timebase, which defines how Adobe Premiere Pro calculates time, and which cannot be changed after you create the project (see “Specifying project settings” on page 58).

Note: You can import a project into another project with a different timebase. However, the alignment of edits in the imported sequences continue to reflect the timebase of their source project. Because mismatched timebases can cause frame misalignments, you should check—and, if necessary, adjust—edits in imported projects.

To create a new sequence: 1 Do one of the following:

• Choose File > New > Sequence.

• In the Project window, click the New Item button , and choose Sequence.

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Using Help | Contents | Index Back 135 2 In the New Sequence dialog box, specify the following options:

• For Sequence Name, enter a descriptive name for the sequence.

• For Video, type the number of video tracks you want the sequence to contain, or click

the up and down arrows to change the number.

• For Master, choose an option from the pop-up menu to specify whether you want the

Master audio track to be mono, stereo, or 5.1.

• For the remaining fields, enter the number of each type of audio track you want the

sequence to contain, or click the up and down arrow buttons to change each number. 3 Click OK to create the sequence.

Note: See “Planning your audio workflow” on page 171 to learn more about the different types of audio tracks.

To set the default settings for new sequences:

With the Project window active, choose Project > Settings > Default Sequence, and specify the number and type of video and audio tracks. See “Specifying project settings” on page 58 for more information.

To switch sequences:

In the Program view of the Monitor window or in the Timeline window, click the tab of the sequence you want to use. The sequence becomes the frontmost tab in both windows.

To view a sequence in a separate Timeline window:

In the Timeline window, drag the Sequence tab away from the window to an empty area.

To open a sequence in the Source view

Do one of the following:

• In the Project window, press Ctrl and double-click the sequence item.

• In the Timeline window, press Ctrl and double-click a nested sequence.

Nesting sequences

You can also insert, or nest, sequences into other sequences. A nested sequence appears as a single, linked video/audio clip—even though its source sequence may contain numerous video and audio tracks. You can select, move, trim, and apply effects to nested sequences as you would to any other clip. Any changes you make to the source sequence are reflected in any nested instances created from it. Moreover, you can nest sequences within sequences—to any depth—to create complex groupings and hierarchies. The ability to nest sequences enables you to employ a number of time-saving techniques and to create effects that otherwise would be difficult or impossible. Nesting enables you to do

the following:

• Reuse sequences. When you want to repeat a sequence—particularly a complex one—

you can create it once, then simply nest it in another sequence as many times as you want.

• Apply different settings to copies of a sequence. For example, if you want a sequence to

play back repeatedly but with a different effect each time, just apply a different effect to each instance of the nested sequence.

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• Streamline your editing space. Create complex, multilayered sequences separately;

then add them to your main sequence as a single clip. This not only saves you from maintaining numerous tracks in the main sequence, but also potentially reduces the chances of inadvertently moving clips during editing (and possibly losing sync).

• Create complex groupings and nested effects. For example, although you can apply

only one transition to an edit point, you can nest sequences and apply a new transition to each nested clip—creating transitions-within-transitions. Or you can create pictureinpicture effects, in which each picture is a nested sequence, containing its own series of clips, transitions, and effects. When nesting sequences, keep in mind the following:

• You can’t nest a sequence within itself.

• Because nested sequences can contain references to many clips, actions involving a

nested sequence may require additional processing time as Adobe Premiere Pro applies the actions to all of its component clips.

• A nested sequence always represents the current state of its source. Changing the

content of the source sequence is reflected in the content of nested instances. Duration is not directly affected.

• A nested sequence clip’s initial duration is determined by its source. This includes empty

space at the beginning of the source sequence, but not empty space at the end.

• You can set a nested sequence’s In and Out points as you would other clips.

Subsequently changing the source sequence’s duration, however, does not affect the duration of existing nested instances. To lengthen the nested instances and reveal material added to the source sequence, use standard trimming methods. Conversely, a shortened source sequence causes the nested instance to contain black video and silent audio (which you may need to trim off the nested sequence).

To nest a sequence in another sequence:

Drag a sequence from the Project window or Source view into the appropriate track or tracks of the active sequence, or use any of the editing methods described in “Adding clips to a sequence” on page 127.

To open the source of a nested sequence:

Double-click a nested sequence clip. The source of the nested sequence becomes the active sequence.

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Editing a Sequence

Overview

Typically, the first iteration of a sequence is a relatively crude draft version, or rough cut. In

the next stage of editing, you can focus on fine-tuning the clips in the sequence. You will continue to use the controls in the Source and Program view not only to add to the sequence, but to remove portions as well. In addition, you can accomplish many editing tasks by directly manipulating clips in the Timeline window, where you can move them and adjust their In and Out points by simply clicking and dragging. And for making precise adjustments to the cut point between clips, you can use the Trim window, which is optimized for this crucial editing task.

Editing clips in the Timeline window

Though it’s possible to edit a sequence using the Monitor window, many editing tasks are easier, more intuitive, or only available by editing the clips directly in the Timeline window. In the Timeline window, you can select clips, move clips, change their In and Out points, or split a single clip into two clips. You can group clips so that you can move them as a single object, or lock tracks to prevent inadvertent changes. You can also apply special options to create speed changes, freeze a frame, or process video fields. You can even override or break the link between a clip’s audio and video, or link separate audio and video clips.

Selecting clips in the Timeline window

When you want to perform an action that affects a clip as a whole, such as applying an effect, deleting a clip, or moving a clip in time, first select the clip in the Timeline window. The toolbox contains selection tools that can handle various selection tasks.

To select one or more clips:

Do any of the following:

• To select a single clip, use the selection tool and click a clip in the Timeline window.

• To select only the audio or video portion of a linked clip, use the selection tool and

Alt-click that portion.

• To select multiple clips by clicking, use the selection tool and Shift-click each clip you

want to select. (Shift-click a selected clip to deselect it.)

• To select a range of clips, click in an empty area of the sequence under the time ruler;

then drag a rectangle (marquee selection) that includes any part of the clips you want to select.

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• To add or subtract a range of clips in the current selection, Shift-drag a marquee around

clips. Shift-dragging a marquee that includes unselected clips adds them to the current selection. Shift-dragging a marquee that includes selected clips deselects them.

Selecting a range of clips by dragging a marquee

• To select all clips that exist on and after a certain time on one track, select the track

select tool and click the clip at the beginning of the time span you want to select. Shift-click with the tool to select clips in all tracks.

Track forward tool being used in the timeline

• To select clips in a track independently of its linked video or audio, Alt-click using the

track select tool .

Grouping clips

You can group multiple clips so that you can select and move them as a single object. Both tracks of a linked clip are included when you group it with other clips. However, you can’t apply clip-based commands, such as the Speed command, to the entire group. Although you can’t apply an effect to the group as a whole, you can apply effects to individual clips in the group. You can trim the exterior edges of the group (the head of the first clip in a group or the tail of the last clip), but you can’t trim any of the interior In and Out points.

You can Alt-click an individual clip to select it without ungrouping the clips. You can ungroup the clips at any time.

To group clips:

Select multiple clips, and choose Clip > Group.

To ungroup clips:

Select a group clip, and choose Clip > Ungroup.

To select one or more clips in a group of clips:

Do any of the following:

• Alt-click a single clip in a group.

• Shift+Alt-click to select additional clips in a group.

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Enabling and disabling clips

If you want to suppress a clip while you try out a different editing idea, or to shorten processing time when working on a complex project, disable the clip. Disabled clips do not appear in the Program view or in a preview or video file that you export. As long as you have not locked the track containing a disabled clip, you can still make changes to it. If you want to disable all clips on the same track, exclude the entire track instead; see “Customizing track views” on page 115.

To enable or disable a clip:

Select one or more clips in the Timeline window, and choose Clip > Enable. A check mark next to the command indicates that the selected clips is enabled. Disabled clips appear dimmed in the Timeline window.

Changing clip duration and speed

The duration of a video or audio clip is the length of time it plays—the difference in time between a clip’s In point and Out point. The initial duration of a clip is the same as it was when the clip was imported or captured. Most often, you change a clip’s duration by altering its In or Out point. But you can also use a menu command to specify a duration, as measured from the clip’s In point. Still image durations can be set like other clips, except that still images can have any duration. You can also specify the default duration of the still images; see “Importing still images” on page 82. The speed of a clip is the playback rate compared to the rate at which it was recorded. Initially, a clip plays back at its normal, 100% speed. (Even if the source footage’s frame rate doesn’t match the project’s, the project automatically reconciles the difference and plays back the clip at its proper speed.) Changing a clip’s speed causes its source frames to be either omitted or repeated during playback, thereby making the video or audio play faster or slower. So naturally, a change in speed results in a corresponding change in duration. You can set a clip’s speed either by dragging in the Timeline window or by using a menu command. Both methods allow you to change the speed to fit a particular duration. The menu command lets you specify a speed in terms of a percentage, and a Reverse Speed option plays the clip in reverse at the speed you specify. When you change the speed of a clip containing interlaced fields, you may need to adjust how Adobe Premiere Pro treats the fields, especially when the speed drops below 100% of the original speed. See “Processing interlaced video fields” on page 145. Changing the speed of audio also changes its pitch. When using the Speed command, you can select an option to maintain the audio’s original pitch at the new speed. You can also set a clip’s speed to fill a duration by performing a four-point edit. See“Adding clips to a sequence” on page 127.

To change the duration of a clip or still frame: 1 In the Timeline window or Project window, select a clip. 2 Do one of the following:

• To change duration numerically, choose Clip > Speed, click the link button to unlink

speed and duration, type a new duration, and click OK.

• To change duration visually in the Timeline window, move the selection tool over an

edge of the clip so that it changes to the trim out or trim in tool, and drag the edge. If

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you are making the clip longer, the source clip must contain enough additional frames beyond its source In or Out point to accommodate the adjustment.

Note: If you want to trim a clip edge that’s already adjacent to another clip, use the methods described in “Trimming clips in the Timeline window” on page 148 and “Using the Trim window” on page 156.

To change a clip’s speed using a menu command: 1 Select a clip in the Project window or Timeline window. 2 Choose Clip > Speed, and in the dialog box, type a percentage or a duration. 3 Select Reverse Speed or Maintain Audio Pitch. 4 Click OK. To change a clip’s speed in the Timeline window:

Select the rate stretch tool , and drag either edge of a clip in the Timeline window.

Changing clip speed using the rate stretch tool

If you set a clip in the Timeline window to the duration you require, but you don’t like where the clip begins and ends in relation to the adjacent clips, you can use the slip tool to adjust the clip without changing the clip’s program In and Out point or duration. See “Removing parts of a sequence” on page 146.

Freezing a video frame

You can freeze one frame of a clip, so that only that frame appears for the duration of the clip, as if you imported the frame as a still image. You can freeze on the clip’s In point, Out point, or at marker 0 (zero), if present.

To freeze a video frame: 1 Select a clip in the Timeline window. 2 To freeze a frame other than the In or Out point, open the clip in the Source view, and

set Marker 0 (zero) to the frame you want to freeze.

3 Choose Clip > Video Options > Frame Hold. 4 Select Hold On, and select the frame you want to hold from the menu. 5 Specify the following options as necessary, and then click OK:

• Hold Filters prevents any keyframed effect settings (if any are present) from animating

during the duration of the clip. Effect settings use the values at the held frame.

• Deinterlace removes one field from an interlaced video clip and doubles the remaining

field, so that interlace artifacts (such as combing) are not apparent in the freeze frame.

Note: If you set the hold frame on an In or Out point, changing the edit point doesn’t change the freeze frame.

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Splitting a clip

You can split a clip in the sequence by using the razor tool . Splitting a clip creates a new and separate instance of the original clip. It can be useful when you want to use different effects that can’t both be applied to a single clip, such as different speed settings. When

you split a clip, Adobe Premiere Pro creates a new instance of the clip and any clips to which it is linked. By Alt-clicking with the razor, you can split only the audio or video portion of linked clips.

Note: If you want to change effect settings over time, you needn’t split the clip; you can apply keyframes to a single clip instead. See “Working with keyframes in the Timeline window” on page 222.

To split a clip:

Do one of the following:

• Position the current-time indicator where you want to split a clip, and choose

Sequence > Razor At Current Time Indicator.

• Select the razor tool and click a clip in the sequence where you want to split it.

To split multiple tracks at the same point in the Timeline window:

Select the razor tool and Shift-click a clip in the sequence at the point where you want to split clips in all tracks. Clips in all unlocked tracks split at that point. Each clip becomes two independent instances.

Multiple clips split in the timeline

Copying and pasting clips and clip attributes

You can rearrange existing clips in the sequence by copying and pasting. If you simply paste a clip, Adobe Premiere Pro performs an overlay edit at the current-time indicator. Alternatively, pasting a clip can perform an insert edit at the current-time indicator. You can copy and paste multiple clips at one time. The relative spacing (both horizontal spacing in time, and vertical spacing in tracks) of clips is maintained.

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If you have applied settings to a clip and want to use the same settings in one or more other clips, you can easily copy the settings. For example, you might want to apply identical color correction to a series of clips captured in the same session. Settings intrinsic to the source clip—motion, opacity, volume—replace those in the destination clips. All other effects (including keyframes) are added to the list of effects already applied to the destination clips.

Note: You can also copy and paste keyframes from one effect parameter to another compatible effect parameter (see “Copying and pasting keyframes” on page 249).

To copy and paste one or more clips to the current-time indicator: 1 Select one or more clips in the sequence, and choose Edit > Copy. 2 In the Timeline window, position the sequence current-time indicator to the point you

want to paste a copy of the clip.

3 Select a target track compatible with the copied clip. 4 Do one of the following:

• To overlay the pasted clips, choose Edit > Paste.

• To insert the pasted clips, choose Edit > Paste Insert.

To transfer clip attributes to another clip: 1 Select a clip, and choose Edit > Copy. 2 Select one or more clips in the Timeline window. 3 Choose Edit > Paste Attributes.

Linking video and audio clips in the Timeline window

In the Project window, clips that contain both video and audio appear as a single item, represented by . When you add the clip to the sequence, however, the video and audio appear as two objects, each in its appropriate track (provided you specified both tracks when performing the edit; see “Specifying source and target tracks” on page 128). But the

video and audio portions of the clip are linked so that when you drag the video portion in the Timeline window, the linked audio moves with it, and vice versa. For this reason, the audio/video pair is called a linked clip. In the Timeline window, each part of the linked clip is labeled with the same clip name, which is underlined. The video is marked [V] and the audio is marked [A]. Ordinarily, all editing functions act on both parts of a linked clip, and both are affected when you select, trim, split, delete, move, nudge, or change the duration or speed of either its video or audio. To affect only the video or audio, you can temporarily override the link by pressing the Alt key when you initiate these editing tasks. After you perform the task, however, the link is restored. When you want to work with the audio and video individually, you can unlink them. When you do, you can use the video and audio as though they were not linked; even the clip names no longer appear underlined or bear the [V] and [A] labels. Even so, Adobe Premiere Pro keeps track of the link. If you relink the clips, they indicate whether they have been moved out of sync, and by how much. You can have Adobe Premiere Pro automatically resynchronize the clips. You can also create a link between previously unlinked clips. This is particularly useful if you need to synchronize video and audio that were recorded separately. You can link video only to audio—you cannot link a video clip to another video clip.

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Using Help | Contents | Index Back 144 To link video and audio: 1 Shift-click a video and audio clip to select them both. 2 Choose Clip > Link Audio and Video. To unlink video and audio:

Select a linked clip and choose Clip > Unlink Audio and Video. (Though the audio and video are unlinked, they are both still selected. Reselect either clip to use it separately.)

To automatically synchronize clips that were moved out of sync: 1 Right-click the number that appears at the In point of the out-of-sync video or audio

clip. (The number indicates the amount of time the clip is out of sync with its accompanying video or audio clip.) 2 Choose one of the following:

• Move into Sync shifts the selected video or audio part of the clip in time to restore sync.

• Slip into Sync performs a slip edit to restore sync without moving the clip’s position in

time. For more about slip edits, see “Trimming using slip and slide edits” on page 154.

Note: Move into Sync moves the clip without regard to adjacent clips and overwrites any clips in order to regain sync.

To edit tracks of linked clips individually:

Alt-click either part of a linked clip; then use any editing tool. When you are finished editing the clip, you can reselect (click) the clip to edit it as a linked clip again.

Finding the source of a clip

Adobe Premiere Pro can quickly find the source of any clip in a sequence and automatically select it in the Project window.

To view the source of a clip in a sequence:

Right-click a clip in a sequence, and choose Reveal in Project.

Editing a clip in its original application

The Edit Original command opens clips in their original application so that you can edit them and then automatically incorporate those changes into the current project without

exiting Adobe Premiere Pro or replacing files. Exported Adobe Premiere Pro movies can also be embedded with information that allows them to be opened using the Edit Original command that is in other applications, such as Adobe After Effects.

To edit a clip in its original application: 1 Select a clip in either the Project window or Timeline window. 2 Choose Edit > Edit Original. To export a movie with the information to use the Edit Original command:

When exporting a clip or a sequence as a movie file, choose Project Link from the Embedding Options menu in the Export Movie Settings dialog box. (For information on exporting a movie, see “Exporting video as a file” on page 296.)

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Processing interlaced video fields

In most video, each frame consists of two fields. One field contains the odd-numbered lines in the frame, and the other contains the even-numbered lines. The fields are interlaced, or combined, to create the complete image. Ordinarily, interlace isn’t apparent to a viewer. But because each field captures the subject at a slightly different moment in time, playing a clip in slow-motion, creating a freeze frame, or exporting a frame as a still image makes the two fields discernible. In these circumstances, it’s usually preferable to deinterlace the image—that is, eliminate one field and create the missing field either by duplicating or interpolating the lines of the remaining field. Another unwanted effect can arise from inadvertently reversing the field dominance, or the order in which the fields are recorded and displayed. When the field dominance is reversed, motion appears jerky because the fields no longer appear chronologically. Fields can become reversed in the following situations:

• The field dominance of the original videotape was the opposite of the field dominance

of the video-capture card used to capture the clip.

• The field dominance of the original videotape was the opposite of the field dominance

of the video-editing or animation software that last rendered the clip.

• You have set an interlaced clip to play backward.

You can process fields for an interlaced clip in the sequence so that the clip’s picture and motion quality are preserved in situations such as changing the clip speed, exporting a filmstrip, playing a clip backward, or freezing a video frame.

To specify field processing options for a clip: 1 Select a clip in the Timeline window, and choose Clip > Video Options > Field Options. 2 Select Reverse Field Dominance to change the order in which the clip’s fields appear.

This option is useful when the field dominance of the clip doesn’t match your equipment or when you play a clip backward.

3 For Processing Options, select one of the following choices: None Doesn’t process the clip’s fields. Interlace Consecutive Frames Converts pairs of consecutive progressive-scan

(noninterlaced) frames into interlaced fields. This option is useful for converting 60-fps progressivescan animations into 30-fps interlaced video, because many animation applications don’t create interlaced frames. Always Deinterlace Converts interlaced fields into whole progressive-scan frames. Adobe Premiere Pro deinterlaces by discarding one field and interpolating a new field based on the lines of the remaining field. It keeps the field specified in the Field Settings

Adobe PREMIER PRO 7 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual