Macromedia Premiere - 6.0 User Guide

User Guide

This manual, as well as the software described in it, is furnished under license and may only be used or copied in accordance with the terms of such license. The information in this manual is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book.

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Part number: 90012291 (12/00)

Contents

iii

Introduction

An Overview of Adobe Premiere

Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Installing Adobe Premiere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Learning Premiere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Using Web resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Other learning resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Customer support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Setting up your workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Starting a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Work area overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Using tools and palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Looking at the Project window . . . . . . . . . . . . . . . . . . . . . . . . . 14

Looking at the Timeline window . . . . . . . . . . . . . . . . . . . . . . . . 16

Looking at the Monitor window . . . . . . . . . . . . . . . . . . . . . . . . 18

Acquiring source material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Adding clips to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Trimming clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Editing clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Applying transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Previewing a clip or a video program . . . . . . . . . . . . . . . . . . . . 32

Adjusting audio levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Panning or balancing audio . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Applying effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Using the Title window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Creating composites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Animating a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

An overview of output options . . . . . . . . . . . . . . . . . . . . . . . . . 46

Exporting to the Web . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

CONTENTS

What’s New in Premiere 6.0

Working with Projects

DV functionality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Built-in Web export for one-step Web output . . . . . . . . . . . . . . 53

Enhanced Monitor and Timeline windows . . . . . . . . . . . . . . . . . 55

Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Improved project management . . . . . . . . . . . . . . . . . . . . . . . . . 60

Visualization tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Enhanced effect support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Customizable workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

New tools and a more familiar interface . . . . . . . . . . . . . . . . . . 69

Chapter 1

Selecting an initial workspace . . . . . . . . . . . . . . . . . . . . . . . . . 73

Starting a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Specifying project settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Comparing settings using the Settings Viewer . . . . . . . . . . . . . . 82

Saving and autosaving a project . . . . . . . . . . . . . . . . . . . . . . . . 83

Opening a project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Removing unused frames from source clips . . . . . . . . . . . . . . . . 86

Using a Premiere project on another platform . . . . . . . . . . . . . . 87

Setting up Premiere’s scratch disks . . . . . . . . . . . . . . . . . . . . . . 88

Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Working with windows in Premiere . . . . . . . . . . . . . . . . . . . . . 90

Using the Project window’s bin view . . . . . . . . . . . . . . . . . . . . . 92

Customizing a Project or Bin window display . . . . . . . . . . . . . . 94

Naming, ﬁnding, and deleting items . . . . . . . . . . . . . . . . . . . . . 97

Printing window contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Creating a text list of project ﬁles . . . . . . . . . . . . . . . . . . . . . . . 99

Changing the startup window . . . . . . . . . . . . . . . . . . . . . . . . 100

Working with palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Using other palettes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Capturing and Importing Source Clips

Chapter 2

Capture checklist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Understanding ofﬂine and online editing . . . . . . . . . . . . . . . . 111

Connecting the analog video source . . . . . . . . . . . . . . . . . . . . 112

Connecting the DV video source . . . . . . . . . . . . . . . . . . . . . . . 112

Digitizing analog video as DV . . . . . . . . . . . . . . . . . . . . . . . . . 113

CONTENTS

Editing Video

Recording or replacing timecode (DV only) . . . . . . . . . . . . . . . 114

File-size limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Preparing for analog capture . . . . . . . . . . . . . . . . . . . . . . . . . 117

Preparing for DV video capture . . . . . . . . . . . . . . . . . . . . . . . . 120

Using the Movie Capture window . . . . . . . . . . . . . . . . . . . . . . 125

Capturing clips without device control . . . . . . . . . . . . . . . . . . 126

Capturing clips with device control . . . . . . . . . . . . . . . . . . . . . 127

Batch-capturing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Capturing stop-motion animation . . . . . . . . . . . . . . . . . . . . . . 139

Reading timecode from source video . . . . . . . . . . . . . . . . . . . 142

Capturing analog audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Importing digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

About D1, DV, and various pixel aspect ratios . . . . . . . . . . . . . 147

Importing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Importing another project . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Analyzing clip properties and data rate . . . . . . . . . . . . . . . . . . 157

Using ofﬂine ﬁles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Chapter 3

Using the Monitor window . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Selecting an editing workspace . . . . . . . . . . . . . . . . . . . . . . . 169

Using the Timeline window . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Editing In and Out points . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Using named duplicate clips and unnamed instances of clips . 184

Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Editing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Editing a video program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Creating a counting leader . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Creating color bars and a 1-kHz tone . . . . . . . . . . . . . . . . . . . 227

Creating black video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Previewing a video program . . . . . . . . . . . . . . . . . . . . . . . . . . 228

CONTENTS

Adding Transitions

Mixing Audio

Chapter 4

About transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Using the Transitions palette . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Creating transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Replacing a transition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Changing transition settings . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Chapter 5

Understanding how Premiere processes audio . . . . . . . . . . . . 255

Adjusting gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Adjusting audio levels in the Timeline . . . . . . . . . . . . . . . . . . . 257

Cross-fading clips linked to video . . . . . . . . . . . . . . . . . . . . . . 260

Panning or balancing a clip . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Working with the Audio Mixer window . . . . . . . . . . . . . . . . . . 263

Adjusting audio levels in the Audio Mixer window

using automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Understanding nonlinear volume changes . . . . . . . . . . . . . . . 268

Panning or balancing in the Audio Mixer window

using automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Using a clip’s left or right stereo channel only . . . . . . . . . . . . . 270

Muting one channel of a stereo clip . . . . . . . . . . . . . . . . . . . . 270

Swapping channels in a stereo clip . . . . . . . . . . . . . . . . . . . . . 271

Viewing audio clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Creating Titles

Chapter 6

Creating and setting up a new title . . . . . . . . . . . . . . . . . . . . . 275

Creating text objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Creating rolling and crawling text . . . . . . . . . . . . . . . . . . . . . . 282

Creating graphic objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Adding a shadow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Using color, transparency, and gradients . . . . . . . . . . . . . . . . . 287

Using the color picker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Arranging text and graphic objects . . . . . . . . . . . . . . . . . . . . . 290

Adding a title to a project . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

vii

CONTENTS

Superimposing and Compositing

Animating a Clip

Applying Effects

Chapter 7

About transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

Using the Video Opacity rubberband . . . . . . . . . . . . . . . . . . . . 296

Using keys to superimpose and create composites . . . . . . . . . 298

Superimposing two or more clips . . . . . . . . . . . . . . . . . . . . . . 306

Adding a background matte . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Creating garbage mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Creating split screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Chapter 8

Animating a clip’s motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Rotating, zooming, delaying, and distorting . . . . . . . . . . . . . . 316

Specifying an exact time for motion . . . . . . . . . . . . . . . . . . . . 317

Specifying alpha channel and color options . . . . . . . . . . . . . . . 318

Saving, loading, and deleting motion settings . . . . . . . . . . . . . 319

Chapter 9

Understanding keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Working with keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Using After Effects effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Obsolete effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Producing Final Video

Chapter 10

About exporting video from Premiere . . . . . . . . . . . . . . . . . . . 337

File types available for export . . . . . . . . . . . . . . . . . . . . . . . . . 337

Exporting to videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

About creating Internet media . . . . . . . . . . . . . . . . . . . . . . . . 343

About creating a video ﬁle for CD-ROM playback . . . . . . . . . . 345

About creating a video ﬁle for use in other software . . . . . . . . 346

viii

CONTENTS

Exporting a video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Exporting a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Exporting a sequence of still images . . . . . . . . . . . . . . . . . . . . 348

Exporting a ﬁlmstrip ﬁle for editing in Adobe Photoshop . . . . . 349

Exporting a project for use in Adobe After Effects . . . . . . . . . . 350

Processing a batch of projects . . . . . . . . . . . . . . . . . . . . . . . . 351

About export settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Choosing export settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

About creating motion-picture ﬁlm . . . . . . . . . . . . . . . . . . . . . 361

Exporting an edit decision list . . . . . . . . . . . . . . . . . . . . . . . . . 362

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Introduction

elcome to Adobe® Premiere®—software that brings the world of digital video editing to the

Windows

cards, hardware systems, and many input/output formats.

Registration

So that Adobe can continue to provide you with the highest quality software, offer technical support, and inform you about new Premiere software developments, please register your application.

When you ﬁrst start the application, you’re prompted to register online. You can choose to submit the form directly or fax a printed copy. You can also register by ﬁlling out and returning the warranty registration card included with your software package.

Installing Adobe Premiere

You must install Premiere from the Adobe Premiere CD onto your hard drive; you cannot run the program from the CD.

or Macintosh desktop. Premiere also provides extensive support for video capture

Follow the on-screen installation instructions after inserting the CD. For more detailed information, see the How_to_Install ﬁle on the CD.

Learning Premiere

Adobe provides a variety of options for you to learn Premiere, including printed guides, online Help, and tool tips. Using the Adobe Online feature, you can easily access a host of continually updated Web resources for learning Premiere, from tips and tutorials to technical support information.

Adobe Acrobat or Adobe Acrobat is required to view many documents included on this CD.

Using the printed documentation

Two printed documents are included with Adobe Premiere 6.0.

Reader™ software, included on the Premiere CD, lets you view PDF ﬁles. Acrobat Reader

Introduction

Adobe Premiere 6.0 User Guide

Contains information on using all Premiere commands and features.

The User Guide also indicates when further information on a topic is available in online Help.

The guide assumes you have a working knowledge of your computer and its operating conventions, including how to use a mouse and standard menus and commands. It also assumes you know how to open,

save, and close ﬁles. For help with any of these techniques, please see your Microsoft

Windows or Mac OS

documentation.

Adobe Premiere Quick Reference Card

Contains basic information about the Adobe Premiere tools and

palettes, and shortcuts for using them. Shortcuts are also included in the online Help.

Using online Help

Adobe Premiere also includes complete documentation in an HTML-based help system. The Premiere help system includes all of the information in the

Adobe Premiere 6.0 User Guide

full-color illustrations, and more detailed information about some procedures.

Online Help provides three ways of locating information. Use the Contents and Index tabs to find general information, and use the Search tab to look up speciﬁc words or phrases.

For more detailed information about using online Help, click the Help on Help button next to the Content, Index, and Search tabs.

To properly view online Help topics, you need Netscape Communicator 4.0 (or later) or Microsoft Internet Explorer 4.0 (or later). You must also have Javascript active.

To start online Help:

Choose Help > Help Topics, or press F1 (Windows).

plus keyboard shortcuts,

Using tool tips

With the tool tips feature, you can display the name of tools, or buttons and controls in palettes.

To identify a tool or control:

Activate the window in which the tool or control appears, position the pointer over it, and pause. A tool tip appears showing the name and keyboard shortcut (if any) for the item.

If tool tips don’t appear, the preference for displaying them may be turned off.

ADOBE PREMIERE 6.0

To display tool tips:

Choose Edit > Preferences > General.

Select Show Tool Tips, and click OK.

Note:

Tool tips are not available in most dialog boxes.

Using Web resources

If you have an Internet connection and a Web browser installed on your system, you can use the Adobe Online feature to access additional resources for learning Premiere located on the Adobe Systems home page on the World Wide Web. These resources are continually updated and include the following:

User Guide

“How To”s and Backgrounders

Provide access to procedures for performing tasks in Premiere and to detailed reference information on a variety of topics. This information provides help on everything from common processes to the complex interapplication tasks necessary to prepare projects for the Web.

Tutorials and Techniques

Provide step-by-step instructions on using Premiere’s features or help on performing advanced techniques. These tutorials can help you go beyond the reference information contained in the User Guide and show you how to use Premiere with other applications.

Quick Tips

Provide short, time-saving procedures to help you use Premiere more effectively. Tips can be

shortcuts for using new features, or instructions on using existing features more effectively.

Troubleshooting

Provides access to solutions to problems you may encounter using Premiere. Check the troubleshooting information available through Adobe Online and the Adobe Web site before you call customer support.

To access Adobe’s home page for your region:

Open Adobe’s worldwide home page at www.adobe.com.

Click the Adobe Worldwide link and choose your geographical region. Adobe’s home page is

customized for 20 different geographical regions.

About Adobe Online

Adobe Online provides access to the latest tutorials, quick tips, and other Web content for Premiere and other Adobe products. Using Adobe Online, you can also download and view the current version of the Premiere Top Issues document containing the latest Premiere technical support solutions. Bookmarks are also included to take you quickly to noteworthy Adobe and Premiere-related sites.

Introduction

Using Adobe Online

Adobe Online is constantly updated with new content. When you set up Adobe Online to connect to your Web browser, each time you lauch Premiere, the program checks Adobe Online and downloads any new content automatically. You can also view tech support documents and new ﬁles using the Help menu.

To use Adobe Online:

In Premiere, choose Help > Adobe Online.

Note:

You must have an Internet connection and an Internet browser installed. Adobe Online will launch your

browser using your default Internet conﬁguration.

Do any of the following:

•

Click Preferences to specify connection options. General preferences affect how Adobe Online interacts with all Adobe products installed on your system, and Application preferences affect how Adobe Online interacts with Premiere. To see an explanation of each preference option, click Setup and follow the prompts. You also can set up an automatic refresh using the Update Options.

Note:

You can also set Adobe Online preferences by choosing Edit > Preferences > Online Settings.

Click any button in the Adobe Online window to open the Web page to which the button is linked.

•

Click the bookmark button( ) to view Adobe-suggested Web sites related to Premiere and Adobe. These bookmarks are automatically updated as new Web sites become available.

•

Click Close to return to Premiere.

Accessing Adobe Online through the Help menu

The Help menu includes options to view and download information from Adobe’s Web site.

To view updated articles or documents:

Click Help and choose the topic you want to view.

Other learning resources

Other learning resources are available but are not included with your application.

ADOBE PREMIERE 6.0

User Guide

Classroom in a Book

developed by experts at Adobe and published by Adobe Press. The includes lessons about using Premiere. For information on purchasing

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

Book

The Adobe Certiﬁcation program

The ofﬁcial training series for Adobe graphics and publishing software. This book is

Adobe Premiere Classroom in a Book

Adobe Premiere Classroom in a

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.

See www.adobe.com/premiere for updated information on additional learning resources.

Customer support

When you register your product, you may be entitled to technical support for up to 90 days from the date of your ﬁrst call. Terms may vary depending on the country of residence. For more information, refer to the technical support card provided with the Premiere documentation.

Customer support on Adobe Online

Adobe Online provides access to FAQs (Frequently Asked Questions) and troubleshooting information that provides solutions to common problems.

Additional customer support resources

Adobe Systems provides several forms of automated technical support:

See the ReadMe and ReadMe First! ﬁles installed with the program for information that became available

•

after this guide went to press.

•

Explore the extensive customer support information on Adobe’s World Wide Web site (www.adobe.com). To access Adobe’s Web site from Premiere, choose Help > Adobe Online or click the icon at the top of the toolbox. See “Using Web resources” on page 3.

•

Read the Top Issues PDF that is available from the Help menu.

An Overview of Adobe Premiere

With Adobe Premiere 6.0, you can capture, import, assemble, and edit video, audio, and still images. Premiere provides highly intuitive windows and palettes, allowing you to master every creative aspect in the development of your video project. New export modules provide an exceptional variety of options for exporting to the Web, as well as the option to export to tape, CD-ROM, or videotape.

This interactive overview of Adobe Premiere contains a number of brief lesson modules designed to provide introductions to key features of the program. You can complete the lesson modules in ordered sequence, or choose individual modules to tailor your introduction to speciﬁc topics. Once you learn the basics of using the program, you’ll be ready to explore the extensive editing, compositing, and exporting features of Premiere. If you need video clips to practice with while stepping through this overview, use the included sample clips, which are located in the Sample folder on the Premiere CD.

An Overview of Adobe Premiere

Starting Premiere

Setting up your workspace

The workspace is the arrangement of windows, window features, and palettes in Premiere. Premiere includes four prearranged workspace options: A/B Editing, Single-Track Editing, Effects, and Audio. You can also customize the workspace to suit your editing style and save it as a ﬁle for use in other projects.

Choosing a workspace

dialog box appears, in which you choose your initial workspace: environment and is recommended for those who are new to video editing, or uses a professional editing environment in which the Video 1 A and B tracks are collapsed into one track. Single-Track Editing is recommended for those who have experience working with video-editing software. If you are unsure of which option to select, select A/B Editing.

The initial workspace dialog box only appears the ﬁrst time you start the application. If you want to change the workspace at any other time, choose Window > Workspace. Adobe recommends you do not switch between A/B Editing and Single-Track Editing after you’ve begun editing a project, as this may cause unpredictable behavior. However, you can use A/B Editing for one project and Single-Track Editing for another, or switch back and forth if you have not yet begun working with the clips in your project.

Premiere also includes an most often used when performing audio or effect edits. You can switch to the Audio or Effects workspace at any time during your editing process. You can also change individual components of the windows and palettes to create your own custom workspace. For more information, see “Selecting an editing workspace” on page 169.

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To select a new workspace, choose Window > Workspace, and then select a workspace option.

To save changes you’ve made to the workspace, choose Window > Workspace > Save Workspace. Once

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you save a workspace, it appears as an option in the Workspace menu and you can choose it from within any project.

When you start Adobe Premiere for the ﬁrst time, the Select Initial Workspace

Audio

workspace and an

A/B Editing

Effects

workspace that display the windows and palettes

, which uses a simple A/B roll

Single-Track Editing

, which

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User Guide

Looking at the A/B Editing workspace

If you plan to perform only simple cuts and edits, and prefer to work with a separate transition track, you may want to use the A/B Editing workspace. This workspace displays Premiere’s windows in their most basic format, so that they are easy to understand and use (it most resembles Premiere 4.2). The primary workﬂow for A/B editing is dragging clips from the Project window to the Timeline window, and from there trimming, editing, and rearranging clips. When you use the A/B Editing workspace, clips open in individual Clip windows, the Monitor window is in Single View, and the Timeline displays three separate Video 1 tracks: Video 1A, Transition track, and Video 1B track.

In the A/B Editing workspace, you drag clips from the Project window to the Timeline window.

An Overview of Adobe Premiere

Looking at the Single-Track Editing workspace

Most professional video editors use a single-track editing system for precise placement of clips in the Timeline. In this workspace, video clips and transitions are on the same track—though you can expand the track to display a transition track between two Video 1 tracks. However, the two Video 1 tracks are synchronized and behave as one track. The primary workﬂow used in the Single-Track Editing workspace is dragging clips from the Project window to the Source view of the Monitor window, setting In and Out points, and inserting or overlaying the clip in the Timeline at a precise location.

In the Single-Track Editing workspace, you drag clips to the Source view of the Monitor window (left), where you edit them before placing them in the Timeline window (right).

Starting a project

After you start Premiere and select your initial workspace, the Load Project Settings dialog box opens. Here you can choose a preset group of project settings for a particular editing environment such as DV, QuickTime, or Video for Windows. If you prefer to choose your settings individually, select the preset that most closely matches your editing environment, and then click Custom and choose speciﬁc settings in the Project Settings dialog box. If you want to open an existing project, click Open.

Create a new project or open an existing one

choosing a project preset from the Load Project Settings dialog box. If you want to start a new project after Premiere is already open, choose File > New Project. The Load Project Settings dialog box opens.

(To change the window that opens at startup, see “Changing the startup window” on page 100.)

You can start a new project by simply starting Premiere and

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User Guide

Determine your project settings

The best way to ensure that Premiere handles your video clips correctly is to use the preset included with your capture card software or the appropriate preset included with Premiere. If none of the available presets meet your needs, choose project settings that are identical or at least compatible with your capture settings (see your capture card or DV camcorder documentation) and your clip settings. For example, if you capture DV video at 720 x 480 frame size, use that same frame size for your project. For a complete description of project settings, see “Specifying project settings” on page 74.

If your capture card manufacturer did not provide presets, or if you are not using their presets for a speciﬁc project, keep the following in mind when choosing project settings:

If you don’t see a preset that matches your video, select the closest match, and then click Custom and

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choose the settings from the New Project Settings dialog box. Once you have selected all the appropriate custom settings, click Save to create a preset for use in other projects.

You can open the Project Settings dialog box at any time by choosing Project > Project Settings.

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However, making changes to settings once you have begun editing is not recommended, as it may cause unwelcome changes to the clips in the project.

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Be sure to review and compare all of the settings in your project using the Settings Viewer: choose Project > Settings Viewer. In most cases, it is important that the capture, project, and individual clip settings are the same in any given project. Discrepancies between these settings can cause unexpected behavior in your previews and ﬁnal output. By default, your export settings match your project settings. However, they do not have to match any other project settings, so you can change them if you want without affecting the project. For more information, see “Comparing settings using the Settings Viewer” on page 82.

An Overview of Adobe Premiere

Getting to know the work area

Work area overview

Once you open a project, the Premiere work area appears. If you’ve worked with other Adobe applications, the Premiere work area will look familiar, with the command menus at the top of the screen, windows to perform your assembling and editing, the toolbox, and the ﬂoating palettes.

Premiere’s Single-Track Editing workspace: A.

on the right)C. Timeline windowD. ﬂoating palettes

Project windowB. Monitor window (Source view on the left and Program view

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Using tools and palettes

The Premiere toolbox contains tools for selecting, editing, and viewing your clips. The Adobe ﬂoating palettes contain additional features that help you monitor, modify, and enhance your work. You can hide and rearrange the palettes to organize your work area as needed. For more information on palettes, see “Working with palettes” on page 100. For more information on tools, see individual tool names in the index.

User Guide

Select a tool

The toolbox is located at the top left of the Timeline window. Some tools in the toolbox have pop-out panels (represented by a small triangle on the right side of the panel) that contain additional hidden tools.

To select a tool, click its icon in the toolbox.

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To select a hidden tool, click the current tool in

Selecting a hidden tool

the toolbox and select the tool you want from the pop-out panel.

Display the palettes

When you ﬁrst start Adobe Premiere, ﬂoating palettes appear stacked in default

groups. Use the following techniques to show and hide palettes:

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To bring a palette to the front of its group, click the palette’s tab.

To show or hide a palette as you work, choose the appropriate Window > Show or Window > Hide

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command.

To minimize or expand a palette in Windows, click the left-most button at the top right of the palette

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group.

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To minimize or expand a palette in Mac OS, click the small square at the top right of the palette group.

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To hide or display all open palettes, press Tab.

An Overview of Adobe Premiere

Arrange the palettes

Depending on your available screen area and work preferences, you may want to reposition and regroup the palettes into more efﬁcient arrangements.

To move an entire palette group, drag the group’s

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title bar.

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To rearrange or separate a palette group, drag a

Drag a palette tab to separate the palette from the group.

palette’s tab. You can drag a palette to another group or to its own separate group. Palette positions are saved with the workspace.

Display a palette or window menu

Most palettes and windows have pop-out menus containing

commands and options that add to their functionality.

To display a palette or window menu, position

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the pointer over the black triangle at the top right of the palette or window, and hold down the mouse.

Displaying a palette menu

Looking at the Project window

All of the clips you import into your project—video, still image, sequence, and audio—are listed in the Project window. Every project has only one Project window; if you close this window, you close the project. The Project window is customizable, so you can sort and view your clips using the options most appropriate for your editing style. For more information on the Project window, see “Using the Project window’s bin view” on page 92 and “Customizing a Project or Bin window display” on page 94.

View clips in the Project window You can view and

add information for every clip in your project. When you select a clip in the Project window, the thumbnail viewer displaying the poster frame (the frame used for icon view and as a sample frame for titles), along with the clip name, media type, video information, duration, and data rate, appears in the top left corner of the window. If the clip is a video, click the Play button ( ) to preview it in this window.

You can expand the size of the Project window to view and enter clip information for every clip in the window.

• To expand the window, drag any corner

(Windows) or the lower right corner (Mac OS).

Organize clips By default, Premiere uses the List

view ( ) and displays clips alphabetically by name.

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EFG

A. Thumbnail viewer and poster frame B. Bins C. Clip D. Clip information E. Search F. New Bin G. Create

Item H. Delete Selected Item I. Resize Bin Area J. Icon view K. Thumbnail view L. List view

H I J LK

User Guide

• To sort clips by a heading, click the heading. For example, if you’ve captured a series of clips from tape

and want to list them in order by timecode, click the Timecode heading.

• To reverse the order of clips under a heading, click the heading again.

• To arrange clips freely in the Project window, use the Icon view ( ) and drag the clip icons into the

positions you want.

Bins, which resemble folders, are located in the left panel of the Project window; use them to organize your clips into groups. When you import clips, they are added to the currently selected bin. You can reuse bins in multiple projects by saving and exporting a bin as a separate ﬁle.

• To view the contents of a bin, click the bin name—the contents appear on the right side of the Project

window.

• To save and export a bin as a ﬁle, select the bin and choose Project > Export Bin from Project.

• To import a saved bin, choose File > Import > File, locate and select the bin ﬁle, and choose Open.

An Overview of Adobe Premiere

Looking at the Timeline window

Once you’ve captured or imported clips into your project, use the Timeline window to organize your clips sequentially, make changes to a clip’s duration and location, add transitions, superimpose clips, and apply effects, opacity, and motion. Once you’ve completed all your editing, export the Timeline contents to any variety of ﬁle formats or directly to videotape.

Explore the Timeline window Premiere’s Timeline window provides an overview of all the clips in your

video program, as well as their durations, locations, effects, opacity, fades, waveforms, and other features. You can add transitions between clips on the Video 1 track, and superimpose clips that are on the Video 2 or higher tracks.

E F

G H

P Q R S

Timeline window in the Single-Track Editing workspace: A. Work area bar B. Edit line C. To ols D. Superimpose track E. Adjustable track header border F. Keyframe and Opacity icons G. Shy Video track icon H. Video track I. Audio track J. Waveform, Keyframe, Volume, and Pan icons K. Lock track icon L. Shy Audio track icon M. Time Zoom Level N. Timeline

window menu button O. Track Options Dialog button P. Toggle Snap to Edges button Q. Toggle Edge Viewing button R. Toggle Shift Tracks Options button S. Toggle Sync Mode button

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Expand the tracks You can expand each track in the Timeline to display more controls.

• Click the triangle next to the Video 2 track name; then click the Keyframe ( ) icon to set and view effect

keyframes, and click the red Display Opacity Rubberbands ( ) icon to set and view handles on the Opacity rubberband. (The Video 1 track does not include an Opacity rubberband; clicking the triangle next to the Video 1 track name displays the keyframe area only.)

• Click the triangle next to the Audio track name; then click the Keyframe ( ) icon to set and view effect

keyframes, click the red Display Volume Rubberbands ( ) icon to set and view handles on the Volume rubberband, click the blue Display Pan Rubberbands ( ) icon to set and view handles on the Pan rubberband, and click the Waveform ( ) icon to view the audio clip’s waveform. See “Adjusting audio levels” on page 34 and “Panning or balancing audio” on page 36 for information on using the audio track rubberbands.

• Click the Time Zoom Level menu at the bottom left corner of the window to select a new frame range

to view. Select a shorter duration (such as 4 Frames) to zoom into the project, or a longer duration (such as 20 Seconds) to see more of the project in the window. To ﬁt the entire Timeline contents in the viewable area, press the backslash key (\) on your keyboard.

User Guide

Choosing a value from the Time Zoom Level menu expands or compresses your view of the footage in the Timeline.

An Overview of Adobe Premiere

Looking at the Monitor window

Use the Monitor window to view individual clips, preview the Timeline, set In and Out points, set markers, add and remove clips from the Timeline, and trim clips. When you use the Single-Track Editing workspace, the Monitor window includes the Source view (left side of window) and the Program view (right side of window). When you use the A/B Editing workspace, the Monitor window displays only the Program view and uses individual Clip windows instead of the Source view (you can change this default at any time by choosing a new Monitor window view). The Source view (or Clip window) displays a single clip as it appears on your hard disk (project settings do not affect playback from this view). Use the Source view (or Clip window) to prepare a clip for inclusion in the Timeline or to edit a clip you’ve opened from the Timeline. The Program view displays the current state of the Timeline—when you preview the Timeline, it plays in the Program view.

Switch among Monitor window views You can display the Monitor window in any of three different

modes to suit your needs and work style:

• ( ) Dual View mode displays both the Source

and Program views. Video editors experienced in using high-end video editing systems may be able to edit faster and more precisely using both the Source and Program view controllers. This is the default window display for the Single-Track Editing workspace.

• ( ) Single View mode displays only the

Program view. Individual clips open in individual Clip windows. If you’re learning how to edit video, you may ﬁnd it faster and easier to work in Single View mode. This is the default window display for the A/B Editing workspace.

Monitor window in Dual View

Monitor window in Single View

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• ( ) Trim mode is a “zoomed-in” view of a

particular edit on the Timeline. When you select Trim mode, the edit line automatically jumps to the next edit in the Timeline, and the clips at that edit point appear in the Monitor window. Use the controls in the Trim window to adjust the In and Out points of those clips. For more information on trimming using Trim mode, see “Using the Trim view” on page 219.

Monitor window in Trim View

To change views, click the view buttons ( ) at the top of the Monitor window or choose a mode from the Monitor window menu.

Look at the playback controls The playback

controls are the same for all windows. You can access these controls from a Clip window, or the Source view or Program view of the Monitor window.

User Guide

DCBA E F

Preview controls: A. Frame Back B. Frame Forward C. Stop D. Play E. Loop F. Play In to Out

Look at the Source view controller The Source view controller (lower left side of the Monitor window)

appears only when the Monitor window is in Dual View mode. To use this controller, drag a clip from the Project window to the Source view window, and then use the controller to preview, set In and Out points, add markers, specify whether to take audio or video, and insert or overlay a clip onto the target track in the Timeline.

An Overview of Adobe Premiere

Individual Clip windows contain the same controllers as the Source view. However, if you want to perform L-cuts, J-cuts, or six-point edits, you must use the Source view in the Monitor window. For more information, see “Editing In and Out points” on page 180.

Look at the Program view controller Use the

controller under the Program view (lower right side of the Monitor window) to remove clips or portions of clips from the Timeline, add transitions, set Timeline markers, and preview the Timeline.

BA C D E F G H

A. Frame Back B. Frame Forward C. Stop D. Play E. Loop F. Play In to Out G. Insert H. Overlay

The Marker menu and the Mark In and Out controls apply to the entire Timeline. All other Program view controls affect only the clips in the Target tracks. Target tracks indicate which Timeline

A. Target video track B. Target audio track C. Marker menu D. Mark In E. Mark Out F. Lift G. Extract H. Previous Edit I. Next Edit J. Add Default Transition

video or audio track is set to receive the video or audio from the Source view (or Clip window) or be affected by the Lift, Extract, Insert, or Overlay command.

DCBA E F G H I J

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Assembling and editing video

Acquiring source material

The video, audio, and still image clips you use in your project can come from a variety of sources. You can capture DV video and audio directly from a DV camcorder using IEEE 1394 (FireWire/i.Link) or capture analog video and audio using a supported video capture card (see http://www.adobe.com/premiere for a list of supported cards). You can import stills from other applications such as Adobe Photoshop and Adobe Illustrator, import audio that you’ve transferred to your hard disk from a CD, or import a folder containing a variety of ﬁles in different formats.

Import one or more clips Premiere supports a variety of ﬁle formats, including .MOV, .AVI, .AIF., TIF,

.JPEG, .BMP, and .PSD. For more information, see “Importing clips” on page 151.

• To import a clip, choose File > Import File, locate and select a clip, and then click Open.

• To import multiple clips in Windows, choose File > Import File, locate the clips and press Control as

you select multiple individual clips or press Shift and select a range of clips, and then click Open.

• To import multiple clips in Mac OS, choose File > Import File, locate the clips and press Shift as you

select each clip, and then click Open.

User Guide

When you create still images for use in Premiere, always create them at the same aspect ratio as the other ﬁles in your project; otherwise, they may distort when you preview or output the project (see “About D1, DV, and various pixel aspect ratios” on page 147). If a file contains an alpha channel, you can use the alpha channel to create transparency in Premiere. For more information on using alpha channels, see “Using the Alpha Channel key” on page 302 and “Specifying alpha channel and color options” on page 318.

Import a folder of mixed media You can import

folders containing any variety of video, audio, and still clips.

• To import a folder into a project, choose File >

Import > Folder, locate and select a folder, and then click OK.

An Overview of Adobe Premiere

Capture video Premiere supports the direct capture of DV and analog video. For detailed information on

capturing from Premiere, see Chapter 2, “Capturing and Importing Source Clips.” To capture DV audio and video, do the following:

1 Plug one end of your IEEE 1394 (FireWire/i.Link) cable into the Video Out port of your DV camcorder

or deck, and then plug the other end into the IEEE 1394 (FireWire/i.Link) port on your computer.

2 Open Premiere and select the appropriate preset from the Load Project Settings dialog box. Use the

preset included with your camera or capture card software, or one of Premiere’s DV presets. Click OK.

3 If your camcorder or deck supports device

control, choose Edit > Preferences > Scratch Disks/Device Control (or click Edit in the Capture window). Select a device from the Device menu, click Options, and select the options that match your DV device (camcorder or deck). See your DV device documentation for more information. Click OK.

4 Choose File > Capture > Movie Capture. When

using device control, use the controls in the Movie Capture window to play and record the video. When not using device control, use the controls on your device to play the video and use the controls in the Movie Capture window to record the video. Captured clips are automatically added to the open Project window.

B C D E F G

JIH

K L M N O P

A. Preview window B. Slow Play C. Reverse Slow Play D. Play E. Stop F. Frame Forward G. Frame Forward H. Take Video I. Take Audio J. Shuttle Slider K. Rewind L. Fast Forward M. Pause N. Record O. Set In P. Set Out

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Adding clips to the Timeline

The Timeline is where you create and edit your video program. After you capture or import your clips, the next step is adding them to and arranging them in the Timeline. You can add clips to the Timeline using several different methods.

Methods for adding clips Choose the method that works best with your editing style. You can use any of

the following methods for assembling footage, regardless of whether your workspace is set up for A/B or Single-Track Editing:

• Drag clips from the Project window, Source view, or Clip window to the Timeline.

• Arrange clips in a Project window bin or a Storyboard window and then transfer them to the Timeline

using the Automate to Timeline command.

• Drag a clip from the Project window to the Source window (or double-click it in the Project window to

open it in a Clip window), set In and Out points, and then use the Insert or Overlay options to add the clip to the selected target track on the Timeline.

Dragging clips to the Timeline When you want to assemble a series of clips quickly with little or no

trimming (usually called a rough cut), drag clips from the Project window directly to the Timeline.

User Guide

Drag clips directly from the Project window to the Timeline.

An Overview of Adobe Premiere

Use the Automate to Timeline command When you want to experiment with the layout of your clips

before ﬁnal placement on the Timeline, use the Icon view in the Project window or create a storyboard to visually organize them; then transfer them automatically to the Timeline. You can save a bin or a storyboard and open it in other projects. For more information, see “Organizing clips using bins” on page 93 or “Creating a storyboard” on page 203. To create a storyboard, do the following:

1 Choose File > New > Storyboard.

2 Drag clips from the Project window to the Storyboard window in the order in which you want them

aligned in the Timeline. Notice the arrows that appear between the clips to show the arrangement.

3 Rearrange the clips by dragging them to new

locations.

4 If you want, double-click any clip and set new In

and Out points or markers. Premiere automatically updates clips in the storyboard to reﬂect any changes.

To automatically transfer contents of a bin or storyboard to the Timeline, do the following:

5 Choose Project > Automate to Timeline.

6 In the Automate to Timeline dialog box, select the placement options and click OK. Premiere automat-

ically transfers the clips to the Timeline. For more information, see “Adding multiple clips using an automated process” on page 201.

Choose Automate to Timeline to transfer your bin or storyboard (shown) clips, in order, to the Timeline window.

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Insert/Overlay from the Monitor window Source view Use the Source view (or the Clip window) to set In

and Out points for your video clips and then insert or overlay them on the Timeline:

1 Drag a clip from the Project window to the Source view. If you’re using A/B Editing, double-click a clip

in the Project window to open it in a Clip window.

2 Click the Play button ( ) under the Source view (or Clip window) to preview the clip. As you preview,

determine which portions you want to use and which you don’t.

3 In the Jog Tread, drag the Mark In ( ) point to the frame you want to set as the ﬁrst frame for your clip.

If your clip contains both audio and video, you can set different In and Out points for each by pressing Alt (Windows) or Option (Mac OS) as you drag the In or Out point.

User Guide

4 Drag the Mark Out ( ) point to the frame you want to set as the last frame for your clip.

An Overview of Adobe Premiere

5 To add the trimmed clip to the Timeline, either drag it from the Source view (or Clip window) to the

Timeline, or use the Insert ( ) or Overlay ( ) buttons. For more information, see “Adding a clip to the Timeline” on page 198.

In the Single-Track Editing workspace, you drag clips into the Source view of the Monitor window, where you edit them before placing them in the Timeline window.

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Trimming clips

Video clips often contain more footage than you need or want to use in your video program. To create scenes, cuts, and transitions, you’ll need to trim your clips, removing the parts that you don’t need. Trimming clips is an essential part of creating a video program, something you’ll do many times. Premiere provides a number of different ways to trim clips, including quick rough-cut tools and more precise frame-by-frame views. You can trim clips in the Source view (or Clip window) before you add them to the Timeline, as described in “Adding clips to the Timeline” on page 23, or you can trim them directly in the Timeline window.

Trimming In and Out points in the Timeline You can easily remove unwanted portions of your video or

audio clips in the Timeline using the selection tool ( ). To determine where you want to make an edit, preview the Timeline clip in the Program view. To trim In and Out points, do the following:

1 Watch the Program view as you drag the edit line in the time ruler of the Timeline. Stop when you see

the frame that you want to set as the clip’s new In point.

2 In the Timeline, position the selection tool at the left end of the clip. The cursor turns into a trim tool,

which is a double-sided arrow with a red bracket ( ). The direction of the bracket, open left ([ ] or open right [ ]), indicates which clip the tool will modify.

3 To edit the In point, drag to the right until the cursor snaps to the edit line (make sure that Snap to

Edges ( ) is on).

4 Using the Program view to preview, drag the edit line in the time ruler of the Timeline again until you

see the frame you want to set as the clip’s new Out point.

5 Position the selection tool at the right end of the clip; when it turns into the trim tool, drag to the left

until it snaps to the edit line.

User Guide

Using the selection tool, drag the edge of a clip (left) to get a new In or Out point (right).

An Overview of Adobe Premiere

Editing clips in the Timeline

Once you’ve assembled clips in the Timeline, you may want to make adjustments to a clip’s location or the In point of one clip in relation to the Out point of the next. Premiere includes several tools to help you do this.

Perform a ripple edit A ripple edit trims the speciﬁed clip but keeps the duration of all other clips the

same. The trim, however, ripples through the project: other clips are pulled or pushed depending on whether you shorten or lengthen the clip. Therefore, the duration of the entire video program changes.

A. Before performing a ripple edit B. Performing a ripple edit C. Result of a ripple edit

To perform a ripple edit, do the following:

1 Select the ripple edit tool ( ) from the toolbox.

2 Position the cursor between the clip you want to trim and the adjacent clip. The cursor becomes a

double-sided arrow with a red bracket. The direction of the bracket (open left ] or open right [) indicates which clip the tool will modify.

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3 Drag the ripple edit tool to trim the clip; then release the mouse button.

Using the ripple edit tool, drag the edge of a clip (left). The edit ripples through the Timeline (right).

Perform a rolling edit A rolling edit trims the speciﬁed clip and the adjacent clip but keeps the duration

of all other clips and the project the same. When you use the rolling edit tool to subtract frames from a clip, the adjacent clip must contain additional frames that can be added to ﬁll the gap.

User Guide

A. Before performing a rolling edit B. Performing a rolling edit C. Result of a rolling edit

An Overview of Adobe Premiere

To perform a rolling edit, do the following:

1 Select the rolling edit tool ( ) from the toolbox.

2 Position the cursor between the clip you want to trim and the adjacent clip. The cursor becomes two

double-sided arrows. The tool modiﬁes both clips.

3 Drag the rolling edit tool to trim the clip; then release the mouse button.

Using the rolling edit tool, drag the edge of a clip (left). The edit affects only the adjacent clip (right).

Applying transitions

Use transitions between clips in your video program to create a visually pleasing, creative transition from one clip to the next. Premiere provides a variety of transitions, including blends, wipes, and doors. Other transitions, such as QuickTime transitions, are also available.

Add a transition in the A/B Editing workspace Transitions overlap the ends of two clips on the Video 1

track. The A/B Editing workspace displays the Video 1 track expanded into three separate tracks so you can visually determine the amount of overlap to use with the transition. For information on applying transitions in the Single-Track Editing workspace, see “Working in the Single-Track Editing workspace” on page 243. To add a transition, do the following:

1 In the Timeline, position one clip in the Video 1A track and another in the Video 1B track, making sure

to overlap them by at least a few frames.

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2 If necessary, choose Window > Show Transitions. Premiere stores all of its transitions in the Transitions

palette, sorted in folders by type. You can arrange them any way you want or even create new folders for your favorite transitions to enhance your workﬂow.

3 In the Transitions palette, click the triangle next to a folder name and locate the transition you want.

4 Drag the transition’s icon from the Transitions palette to the Transition track, at the point where the

two clips overlap. Premiere automatically expands the transition to ﬁll the overlap.

User Guide

Drag a transition to the transition track (left). The transition ﬁlls the overlapping space (right).

Apply a default transition If you frequently use one transition in a project, you can set it as the default

transition and apply it using a Monitor window control. Premiere automatically uses Cross Dissolve as the default transition. You can use the default transition in any workspace. To add a default transition when using the A/B workspace, do the following:

1 Position two clips in the Video 1 track in the Timeline so that they meet.

2 In the Timeline, press Ctrl+Alt+Shift (Windows) or Command+Option+Shift (Mac OS) and click in

the overlap between the two clips.

3 To change the default transition, select a transition in the Transitions palette, and then choose Set

Selected as Default from the Transitions palette menu. For more information on default transitions, see “Specifying and adding a default transition” on page 246.

An Overview of Adobe Premiere

Previewing a clip or a video program

Premiere provides a number of playback and preview options to choose from, depending on what you want to view and at what quality. Using different options, you can play or preview individual clips or the entire contents of the Timeline.

Play a single clip To play back a single clip, do any of the following:

• Select a clip in the Project window and click the Play button ( ) under the thumbnail viewer that

appears at the top of the window.

• Double-click a clip in the Project window and click the Play button ( ) in the Clip window controller.

• Drag a clip from the Project window to the Source view of the Monitor window, and then click the Play

button ( ) in the controller under the Source view.

Play the video program Play back the contents of the Timeline in the Program view of the Monitor

window. If you are using the DV editing mode, or if your analog capture card supports it, you can play your program on your DV device or connected television monitor. For more information, see “Previewing on another monitor” on page 232.

You can play your video program using any of the following techniques:

• To play back the program without effects, click

the Play button ( ) under the Program view, or select the Timeline and press the spacebar. To stop the playback, click the Stop button ( ) in the Program view or press the spacebar again.

Drag the yellow work area bar over the area you want to preview.

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• To play back the program with effects, drag the yellow work area bar over the portion of the program

you want to preview, and then press Enter (Windows) or Return (Mac OS). If prompted, name and save the project. Premiere builds (renders) a preview ﬁle of the selected area, and then plays it in the Program view.

• To render-scrub (manually scrub through the program viewing effects), press Alt (Windows) or Option

(Mac OS) as you drag the edit line in the Timeline’s time ruler.

• To manually scrub through the program without viewing any effects, drag the edit line in the Timeline’s

time ruler or drag the shuttle slider under the Program view.

User Guide

An Overview of Adobe Premiere

Mixing audio

Adjusting audio levels

You can adjust the level (also called gain or volume) of an audio clip at precise locations in your video program using either the Volume rubberbands in the Timeline or the volume faders in the Audio Mixer.

Adjusting volume in the Timeline Under each audio clip in the Timeline is a Volume rubberband on

which you can create and adjust handles to adjust the volume in an audio clip.

• To see the Volume rubberband in the Timeline, click the triangle to the left of the audio track name, and

then click the red Display Volume Rubberbands ( ) icon.

• To add volume handles, click anywhere along the Volume rubberband. Premiere includes a default

handle at the beginning and end of every clip. To fade volume in from the beginning of a clip, click to create a handle where you want the audio to fade in, and then drag the ﬁrst default handle (located at the beginning of the clip) down to the bottom of the track. The clip’s volume will fade in from the ﬁrst to the second handle. For more information, see “Adjusting audio levels in the Timeline” on page 257.

Click the Volume rubberband to create handles (left), and then drag the handles up or down to fade the volume in or out (right).

Adjusting volume with the Audio Mixer Using Audio Mixer controls, you can adjust and record the

volume levels for each audio track in your video program in real time, all while listening to and watching the video program. For more information, see “Adjusting audio levels in the Audio Mixer window using automation” on page 266. To adjust gain, do the following:

1 In the Timeline, position the edit line where you want to start adjusting the volume.

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2 Do one of the following:

• Choose Window > Workspace > Audio to change your workspace to one optimized for editing Audio.

• Choose Window > Audio Mixer to leave your workspace as is and just display the Audio Mixer window.

3 In the Audio Mixer, click the Automation Write ( ) button above the track you want to edit. When

Automation Write is activated, Premiere records all of your settings. For more information on automation, see “Working with the Audio Mixer window” on page 263.

4 To gang tracks together so that when you move one volume fader ( ), the other tracks’ faders keep

their relative relationship, right-click (Windows) or Control-click (Mac OS) the volume fader and choose a gang option. For example, right-click the Volume Fader for track 1 and choose Gang 1 from the menu that appears; then right-click the volume fader for track 2 and choose Gang 1 from the menu to gang together the volume faders for tracks 1 and 2.

5 Press the spacebar to play the audio and then drag the volume fader ( ) up to increase volume or down

to decrease volume.

6 When you’re done, expand the audio track in the Timeline, click the red Display Volume Rubberbands

( ) icon, and see how Premiere automatically added handles to the Volume rubberband.

User Guide

When you choose Automation Write, changes you make in the Audio Mixer (left) appear in the corresponding audio track in the Timeline (right).

An Overview of Adobe Premiere

Panning or balancing audio

Panning an audio clip shifts the sound from a single (monophonic) channel to either the left or right stereo channel; balancing adjusts the balance of sound between both channels in a stereo clip. In Premiere, you can use the pan controls to pan or balance audio in the Timeline or the Audio Mixer. To use pan controls, your project must use stereo audio settings. To determine your project’s audio settings, choose Project > Project Settings > Audio and look at the Format setting.

Panning or balancing audio in the Timeline In

addition to the Volume rubberband, Premiere includes a Pan rubberband under each audio clip in the Timeline. You can create handles to pan or balance your audio clips using this rubberband. For more information, see “Panning or balancing clips in the Timeline” on page 262. To pan audio, do the following:

1 If necessary, click the triangle to the left of the

audio track name to expand the track, and then click the blue Display Pan Rubberbands icon ( ).

2 Click the Pan rubberband to add handles. Then

A. Panning audio to the left channel B. Panning audio to the right channel

drag a handle up to shift volume to the left channel or drag down to shift volume to the right channel.

Panning or balancing audio in the Audio Mixer Use the Pan control in the Audio Mixer to precisely

position audio in a stereo channel. For more information, see “Panning or balancing in the Audio Mixer window using automation” on page 269.

1 In the Timeline, position the edit line where you want to begin editing.

2 Do one of the following:

• Choose Window > Workspace > Audio to change your workspace to one optimized for editing Audio.

• Choose Window > Audio Mixer to leave your workspace as is and just display the Audio Mixer window.

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3 Click the Automation Write ( ) button above the track you want to pan. When Automation Write is

activated, Premiere records all of your adjustments. For more information on automation, see “Working with the Audio Mixer window” on page 263.

4 Press the spacebar to play the audio and then drag the Pan control ( ) to the left or right.

As you drag, handles are added to the Pan rubberband in the Timeline.

User Guide

Adjustments you make to the Pan control in the Audio Mixer (left) appear in the corresponding audio track in the Timeline (right).

An Overview of Adobe Premiere

Using effects, transparency, and motion

Applying effects

Premiere includes numerous audio and video effects—with many new video effects from Adobe After Effects! Apply an effect by dragging it from the Video or Audio effect palette to a clip in the Timeline. Once applied, all effects are stored in the Effect Controls palette, where you can access effect settings, turn effects on or off, enable keyframes, or delete effects.

Apply an effect Using palettes, it is easy to apply and control both video and audio effects in Premiere. For

more information, see “Working with effects” on page 326. To apply an effect, do the following:

1 To set your workspace to one optimized for editing effects, choose Window > Workspace > Effects.

2 To see the effects available in Premiere, click the Video or Audio tab in the effects palette group. Then

click the triangle next to a folder name to view the effects in that folder.

3 To apply an effect to a clip, drag it from the palette to a clip in the Timeline. A blue line appears across

the top of the clip, indicating that the effect has been applied.

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4 If the effect has adjustable settings, adjust them in a Settings dialog box or the Effect Controls palette.

To apply an effect, drag it from the Video palette to a clip in the Timeline (left). A blue line appears at the top of the clip (right).

Use keyframes to animate an effect When you

apply an effect with adjustable settings, you can animate the effect by changing its settings over time using keyframes. A keyframe contains information about the following:

User Guide

• Which effect is changing

• The point in time when the change occurs

• The settings for the effect at the keyframe’s point

in time

For more information on keyframes, see “Understanding keyframes” on page 323.

Set effect keyframes You can use keyframes only with effects that have adjustable settings.

1 In the Timeline window, click the triangle ( ) next to the track name to expand the track containing

the clip with the effect.

2 Click the keyframe icon ( ) to display the keyframe line.

3 If a clip has more than one effect applied, click the triangle next to the effect name (under the clip’s

name in the Timeline) and select the effect from the menu that appears, or select the effect in the Effect Controls palette.

An Overview of Adobe Premiere

4 Position the edit line at the point where you want to create a keyframe and do one of the following:

• Click the Keyframe Navigator’s Add/Delete Keyframe box ( ) to set a new keyframe and then, if you

want, adjust the settings in the Effect Controls palette or click Setup in the Effect Controls palette and adjust the settings in the dialog box that appears.

• Adjust the settings in the Effect Controls palette or click Setup in the Effect Controls palette and adjust

the settings in the dialog box that appears. Premiere automatically adds a keyframe at that location.

Click Setup (left) to view the Settings dialog box for an effect (right).

5 To select an existing keyframe, click the Keyframe Navigator’s Previous Keyframe ( ) arrow or Next

Keyframe ( ) arrow.

Use the Effect Controls palette to manage effects

Once you’ve applied an effect to a clip, use the Effect Controls palette to adjust settings, hide the effect during previews, or delete the effect. For more information, see “Applying and controlling effects” on page 327.

• If necessary, choose Window > Show Effect

Controls.

• To see all of a clip’s effects, select the clip in the

Timeline. Video or audio effects appear in the Effect Controls palette in the order they were applied.

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• To adjust an effect’s settings when no keyframes are set, adjust the controls under the effect name in the

Effect Controls palettes, or click Setup and adjust the settings in the Settings dialog box.

• To adjust an effect’s settings when keyframes are present or when you want to set a keyframe, ﬁrst

position the edit line over the clip; then adjust the controls under the effect name in the Effect Controls palettes, or click Setup and adjust the settings in the Settings dialog box.

• To temporarily turn an effect on or off, click the Effect Enabled button ( ).

• To remove all keyframes from an applied effect, click the Keyframing Enabled button ( ). A stopwatch

icon appears in this button only when a keyframe has been added to the effect.

Using the Title window

Use the Title window to create titles, rolling credits, symbols, or simple drawings. When you save a title, Premiere automatically adds it to the open Project window and applies the appropriate transparency key for easy superimpositions. For detailed information on creating titles, see Chapter 6, “Creating Titles.”

Creating a title When you use Premiere’s Title window, you can type text and draw images directly in the

window.

User Guide

1 Choose File > New > Title.

2 In the Title window, select the type tool and

then click to make an insertion point.

3 Type your text, and then close the window.

Click Yes to save the ﬁle, type a ﬁlename, and click Save. Once you save the title, Premiere automatically adds the title ﬁle to your Project window.

An Overview of Adobe Premiere

Creating composites

Premiere makes it easy to create composites, also known as superimpositions. Using different types of transparency keys such as alpha channels or blue screens, you can superimpose two or more clips on top of one another and create composites containing selected portions of each clip. Superimposing is commonly used to add titles and credits to a movie, to add a logo to an advertisement, and to change the background behind a person or ﬁgure in a video clip.

Preparing for transparency If you plan to use transparency in your video program, take the time to

prepare your footage for transparency effects. For example, shoot your video in front of a solid-colored screen that contrasts with the subject you are taping, or save still images with an alpha channel. For more information, see “About transparency” on page 295. (A clip containing an alpha channel is included in the sample clips.)

Add a clip to a superimpose track When a clip is in a superimpose track (Video 2 or higher), you can use

transparency settings to create transparent areas in which the clips in lower tracks can display through.

• To superimpose a clip over another clip, place two or more clips on top of one another in the Timeline,

with at least one clip in a superimpose track.

• To add additional superimpose tracks to the Timeline, drag a clip from the Project window or Source view

to the time ruler, or click the Track Options button ( ) at the bottom of the Timeline and click Add.

Drag a clip to the time ruler (left) to automatically create a new superimpose track (right).

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Apply transparency Use the Transparency Settings

dialog box to apply transparency to clips. For more information, see “Using keys to superimpose and create composites” on page 298. To apply transparency, do the following:

1 Select a clip in the superimpose track, and

choose Clip > Video Options > Transparency, or click the Transparency box in the Effect Controls palette.

2 Select a transparency key from the Key menu.

For example, if the selected clip contains an alpha channel, use the Alpha Channel key. If the clip was ﬁlmed with a colored background, choose the appropriate color key, such as Blue Screen, Green Screen, or Chroma.

3 Click the page peel icon ( ) under the Sample window to preview the effect of the transparency setting

on your footage.

4 Click OK to set the transparency and return to

the project.

User Guide

Before (left) and after (right) transparency

An Overview of Adobe Premiere

Animating a still image

Using the controls in Premiere’s Motion dialog box, you can move, resize, rotate, or distort any video or still image clip in your project. You can also use the Transform effect to animate, resize, rotate, or distort a clip. See online Help for more information on the Transform effect.

Creating a motion path All motion effects are

located in the Motion Settings dialog box. For more information, see “Animating a clip’s motion” on page 311. To create a motion path for a clip, do the following:

1 Select the clip in the Timeline, and then choose

Clip > Video Options > Motion or click the Motion box in the Effect Controls palette. Premiere’s default motion path is the straight horizontal line through the center of the frame.

2 To modify this path, click the path to add motion keyframes, and then drag them in any direction.

3 To adjust the time between motion keyframes, move the keyframes on the motion timeline directly

below the motion path.

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4 To delay motion at any point in time, select a

keyframe and set Delay to the time you want. A blue bar in the motion timeline represents the length of the delay from one keyframe to the next.

Rotating and resizing an image The Delay and

Motion options, located at the bottom center of the dialog box, provide more control over the time between keyframes and let you create numerous visual effects.

For example, if you simply want to resize and rotate an image without moving it at all, set the Delay for the ﬁrst keyframe on the path to 100%. Then, move the image thumbnail on the motion path to position the clip in the frame, and adjust the Zoom, Rotation, or Distortion settings. For more information, see “Rotating, zooming, delaying, and distorting” on page 316.

User Guide

An Overview of Adobe Premiere

Creating ﬁnal video

An overview of output options

You can output a video program using a variety of output settings and export to any number of formats. You can also take one program and create a variety of different ﬁles. For example, you can record a video program to tape, export it as a RealVideo ﬁle, export it as a DV stream, and then export it as a QuickTime streaming or hinted video. For more information, see Chapter 10, “Producing Final Video.”

Use Premiere to capture digital video directly from the camera to the computer (left) and then export a completed video piece to CD, video tape, the Web, or back to your DV camera.

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Exporting to the Web

In addition to its movie export feature, Premiere includes three built-in export options that provide unique solutions for creating Web-based media: Save for Web, Advanced Windows Media (Windows only), and Advanced RealMedia Export. For detailed information on each of these options, see the online Help within each plug-in’s dialog box.

Export to a Web-ready ﬁle format You can take any

video program in Premiere and export it as a ﬁle optimized for viewing on the Web. Do this by choosing one of the three Web export options in the File > Export Timeline menu or the File > Export Clip menu. For information on any of these plug-in export options, see the plug-in’s online Help.

• Use the Save for Web option (a Terran Media

Cleaner plug-in) to export a video program to one of a variety of Web-optimized ﬁle formats. This is a one-stop Web output option that includes presets for exporting as QuickTime hinted and streaming video, RealMedia SureStream video, ASF Intelligent Streaming video, MPEG-1 video, and MP3 audio, as well as other video and audio formats.

• Use the Advanced Windows Media option (Windows only) to export a video and audio (audio

required) program as a Windows Media ﬁle (.WM). Windows Media ﬁles can be played back within Premiere or over the Web using the Windows Media Player, which is available as a free downloadable ﬁle from Microsoft’s Web site (http://microsoft.com).

• Use the Advanced RealMedia Export option to export a video program as a RealMedia ﬁle (.RM).

RealMedia is a streaming media ﬁle format that can be played back within Premiere or over the Web using the RealPlayer application, which is available as a free downloadable ﬁle from Real Networks’ Web site (http://real.com).

User Guide

What’s New in Premiere 6.0

With the release of version 6.0, Adobe Premiere continues to lead the way in professional desktop video editing, introducing many new features and enhancements. Taking your video from the video camera to the Web is a clean and simple process now that Premiere directly supports IEEE 1394 (FireWire/i.Link) for both Windows and Mac OS, and includes Web-optimized export options from Terran Interactive, Microsoft, and RealNetworks. Premiere also includes over 30 After Effects plug-ins so that you can easily create visually compelling, one-of-a-kind video, and a new Audio Mixer window so that you can precisely mix your audio clips in real time!

Premiere 6.0 also provides new and improved organization tools, including Project window bins to organize your clips; the storyboard, in which you can assemble clips before adding them to the Timeline; the Automate to Timeline command, which automatically places the contents of a storyboard or bin on the Timeline; and the Settings Viewer, which you can use to compare settings for all the different elements of your project.

What’s New in Premiere 6.0

Robust DV support

DV functionality

Premiere 6.0 provides direct support for IEEE 1394 (FireWire/i.Link) on both Windows and Mac OS. Using only the DV port on your computer, an IEEE 1394 connection, and your DV camcorder, you get perfect digital video in Premiere. When you capture DV video, Premiere displays it at the appropriate aspect ratio so that your images won’t appear distorted on your computer screen, and provides a DV editing mode so that you can preview your DV video at full quality on your DV device. Premiere also includes speciﬁc DV presets and DV device control for ﬂawless capture from and export to your DV device.

DV presets Premiere stores groups of project settings in ﬁles called presets, which include settings for

compressor, frame size, pixel aspect ratio, frame rate, color depth, audio, and ﬁelds. When you ﬁrst start a project, Premiere prompts you to select a default preset or a previously saved custom preset from the Load Project Settings dialog box. If the available presets are not appropriate for your project, click Custom and select individual settings.

Now that DV is widely used by video editors, Premiere 6.0 includes DV-speciﬁc presets for NTSC and PAL that you can use with your DV equipment.

The DV-speciﬁc presets differ only in the following ways:

• NTSC or PAL

• Standard 4:3 or Widescreen (Cinema) 16:9 aspect ratio

• 32 kHz (12-bit) or 48 kHz (16-bit) audio sample rate

The presets can be customized for the following variations:

• Video rendering: standard interlaced or progressive scan

• NTSC time display: drop-frame timecode (default) or non–drop-frame timecode

• Sample rates: 32 kHz, 48 kHz, or 44.1 kHz. (Because many DV devices do not support 44.1 kHz audio,

it is not included in a default preset, but it is an option under Audio Settings in the Project Settings dialog box.)

DV device control With device control you can

control the videotape from within Premiere’s capture window. When you select device control, you can also batch-capture video, capture from an In point to an Out point, and automatically begin recording from the tape. Premiere now includes DV device options that optimize performance and reliability for your camera or deck. Device control options are located in the Scratch Disk and Device Control preferences dialog box. For more information, see “Capturing clips with device control” on page 127.

Support for nonsquare pixels Premiere now

provides support for a variety of nonsquare pixel aspect ratios, including DV’s Widescreen (Cinema) pixel aspect ratio of 16:9 (1.2) and the Anamorphic pixel aspect ratio of 2:1 (2.0).

ADOBE PREMIERE 6.0

User Guide

When you preview on your computer screen, Premiere displays nonsquare video with a corrected aspect ratio on the computer monitor so that the image is correct. Motion and transparency settings, as well as geometric effects, also use the proper aspect ratio, so you don’t have to worry about distortions appearing after editing or rendering your video.

DV editing mode When you use the new DV Editing Mode, Premiere sends the captured or rendered

video out through the IEEE 1394 connection to the DV device for previewing at full quality. Use this feature while previewing or scrubbing in any Window or while render-scrubbing (pressing Alt [Windows] or Option [Mac OS] while scrubbing) the Timeline to preview effects!

DV ﬁle interchange options Premiere now imports and exports native DV ﬁles in a variety of formats

including QuickTime, Type 1 or Type 2 AVI ﬁles, and DV stream ﬁles. (DV stream refers to the bit-by-bit copy of the digital data on a DV tape, not Internet streaming.) When you print to video or export to tape, Premiere sends the DV information to your IEEE 1394 connection so you can record it on your DV device.

What’s New in Premiere 6.0

Capture window The Capture window has been

A B

enhanced to include all of the necessary capture tools right in the window. For more information, see “Logging clips to a batch list” on page 132.

Some of the enhancements include:

• A control panel under the preview window to

control the connected playback device.

• A Settings palette that displays your current

capture settings as deﬁned in the Project Settings dialog box. If you want to change these settings, click Edit to open the Capture section of the Project Settings dialog box, and make

A. Log settings B. Capture settings C. Device Control controls

your changes. Any changes are automatically reﬂected in the Settings palette.

• A Logging palette for entering In and Out points for clips to be batch-captured later. Click the Set In or

Set Out buttons to set the time for In or Out at the current position of the tape in the device.

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Web output

Built-in Web export for one-step Web output

Premiere 6.0 includes three options for exporting an individual clip, a segment of the Timeline, or the entire program to a Web-optimized ﬁle format. When you have ﬁnished editing your video program, choose File > Export Clip or File > Export Timeline and select one of the following Web export options: Save for Web, Advanced Windows Media, or Advanced RealMedia Export. Choosing one of these options opens the respective plug-in dialog box in which you can specify your exported ﬁle format information. Also included in this release is the ability to embed Web markers in your video ﬁles.

Save for Web The Save for Web export option from Terran offers several different Web output options.

Now you can export any Premiere project to a Web-optimized ﬁle format by simply choosing File > Export Timeline > Save for Web. When using this option, you select a preset from the Save for Web dialog box to export to a variety of formats, including any of the following: QuickTime, RealMedia, ASF, MPEG-1, MP3, DV stream, and QuickTime DV. These formats can be played back over the Web, from your hard disk, or from a CD-ROM using a variety of player applications such as QuickTime, RealPlayer, and Premiere. For more information, see the plug-in’s Online Help.

User Guide

Advanced Windows Media (Windows only) Use the Windows Media option from Microsoft Corporation

to export Timeline content to the Windows Media (.WM) streaming-media ﬁle format. Using the Advanced Windows Media plug-in, you can generate high-quality and high-bandwidth video that can be played over the Web, or downloaded and played back from within Premiere, Windows Media Player, or a variety of other playback applications. For more information, see the plug-in’s Online Help.

What’s New in Premiere 6.0

Advanced RealMedia Export Use the Advanced

RealMedia Export plug-in from RealNetworks to export directly to the RealMedia (.RM) streaming format or Web download format. RealMedia ﬁles (containing both RealVideo and RealAudio) can be played from the Web or downloaded to a hard disk and played over the Web using the RealPlayer application, which is available as a free downloadable ﬁle from real.com. For more information, see the plugin’s Online Help.

Web and chapter markers You can set Timeline

markers that include links to HTML pages or to chapters in a QuickTime movie or DVD. During playback, these markers automatically open the linked Web content or chapter. For more information, see “Using markers” on page 185.

To create a Web or chapter marker, set a Timeline marker and then either double-click it or choose Timeline > Edit Timeline Marker to open the Marker dialog box.

Within this dialog box, do any of the following:

• In the Comments ﬁeld, type text that you want to appear in your video program, in the Monitor

window preview. Comments are visible only when your project is set to QuickTime editing mode. They are not exported with the project.

• In the Duration ﬁeld, type the amount of time you want the comment to appear.

• In the Marker Options section, type a chapter number, such as Chapter 1, to create a jump from the

project to the speciﬁed chapter in a QuickTime movie.

In the Web Links section, type a URL, such as http://www.adobe.com/premiere, to initiate a jump to the speciﬁed URL in your Web browser. To target a speciﬁc frame on the Web site, type an HTML target name in the Frame Target ﬁeld.

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Enhanced professional tools

Enhanced Monitor and Timeline windows

The enhanced Monitor window provides more efﬁcient editing control with three-point, four-point, and sixpoint editing (L-cut) capabilities when using a combination of the Source and Program views. The streamlined Timeline window offers precise editing capabilities for piecing together video projects. In this window you can directly adjust opacity, add transitions or effects, and modify keyframes.

User Guide

Monitor window The Monitor window retains all

A B

of its power but is much more intuitive in Premiere

6.0. For more information, see “Using the Monitor window” on page 163.

Some of the enhancements to this window include:

• Clearly deﬁned Source and Program View

windows, with separate controllers.

• Buttons at the top for toggling between Dual

View, Single View, and Trim Mode.

• Customizable Title-Safe and Action-Safe

A. View buttons B. Safe Zones C. Source View controllers D. Program View controllers

C D

margins for both the Source and Program view windows.

• Marker buttons for both the Source and Program View windows. You no longer need to go to the Clip

menu to set a marker!

• Enhanced Trim mode window that includes Set Focus buttons, which let you focus on the Clip Out,

the Clip In, or both; new shuttle controls to help you set Out points for the Clip Out and In points for the Clip In; Target menus in which to choose the tracks you want to trim; and new Out Shift and In Shift menus showing the number of frames that have changed between the original In or Out points and the newly marked In and Out points.

What’s New in Premiere 6.0

Timeline window The Timeline window has added

tools and buttons to increase efﬁciency. For more information, see “Using the Timeline window” on page 171.

Some of the enhancements to this window include:

• All of the tools have been improved and now

• The lower left corner contains new buttons for

• The new Toggle Shift Tracks Options button ( ) along the bottom of the window lets you decide

• The Toggle Sync Mode button ( ) along the bottom of the window lets you toggle between moving

• Adding new tracks is as simple as dragging a clip to the time ruler or the blank space at the bottom of

• The preview area (area directly under the yellow work area bar) now displays colored preview bars: no

• You can replace transitions simply by dropping a new one on top of an existing one. If a transition

B C

provide more intuitive visual feedback.

quick access to new and frequently used Timeline features such as Track Options Dialog, Toggle Snap to Edges, Toggle Edge Viewing, Toggle Shift

A. Preview bar B. Keyframe icon C. Video and Audio tracks D. Timeline quick access buttons

Tracks Options, and Toggle Sync Mode.

whether a speciﬁc edit, such as a rolling edit, a ripple delete, or an insert, shifts clips on all tracks or only on the edited track.

linked (synched) audio and video clips independently of each other, and moving them in unison.

the window. You can also use the Track Options Dialog button ( ) at the bottom of the window to open the Track Options dialog box and quickly add one or more video or audio tracks.

bar indicates a cuts-only segment that can play in real time, a red bar indicates that you need to build a preview ﬁle for the segment, and a green bar indicates that a preview ﬁle exists on disk for the segment (light green represents audio previews and dark green represents video previews).

doesn’t ﬁt in the designated area, the new Fix Transitions dialog box appears, providing clear and easy options to ﬁx the problem.

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• By default, the work area grows with your project: as you add clips to your program, the yellow work

area bar expands to cover all clips.

• Linked audio and video clips are green.

• New keyframe lines exist within each video and audio track. Once you expand a track, you can click an

icon to display the Keyframe area, the Waveform, or the Opacity, Volume, and Pan rubberbands.

Clip window The Clip window includes all the

features of the Source View. It includes controllers for setting In and Out points and Markers. If you open the Clip window by double-clicking a clip in the Timeline, and then make changes to the In or Out points or create new markers, an Apply button appears at the top of the window. Click Apply to apply the changes to the clip in the Timeline. For more information, see “Importing clips” on page 151.

New Timeline menu The menus have been reorga-

nized and a new Timeline menu has been added. Now you can ﬁnd any command under its associated menu. For example, under the Timeline menu are commands such as Preview, Render Work Area, Add Video Track, and Set Timeline Marker.

User Guide

Expanded context menus The context menus for each window in Premiere 6.0 have been expanded to

include many more commands and functions. For example, the context menu for the Source View in the Monitor window includes commands such as online Help, Properties, Speed, Open Master Clip, and Set Clip Marker.

What’s New in Premiere 6.0

Audio Mixer

Now you can process audio within Premiere using a professional-level mixing tool: the Audio Mixer. This tool resembles a traditional multichannel mixer, featuring gain and pan adjustment for up to 99 audio tracks. The Audio Mixer works in conjunction with the Monitor window, so you can make adjustments as you play the audio and watch the synchronized video in the Monitor window. For more information on the Audio Mixer, see “Working with the Audio Mixer window” on page 263.

Audio tracks Each audio track in the Audio Mixer

is numbered or named the same as its corresponding track in the Timeline. A Master fader track is displayed along the right side of the Audio Mixer window. The Master fader represents the ﬁnal mix of the combined audio tracks. The volume for this track is computed after mixing all the audio tracks together and applying the output gain value. The mono/stereo format for the Master fader is determined by your project settings: if your project is set up for mono, the Audio Mixer provides a mono VU meter; if your project is set up for stereo, the Audio Mixer provides a stereo VU meter.

The following controls are available when mixing audio tracks:

• Select Mute to temporarily turn off a track. You cannot modify the parameters for a track when it is set

to Mute.

• Select Solo to temporarily mute other tracks. Multiple tracks can be set to Solo at one time.

• Right-click (Windows) or Control-click (Mac

OS) a track’s volume fader and select a Gang option from the context menu that appears. Then select the same gang option for another track. When tracks are ganged, the relative volume fader positions between them are preserved—when you move one ganged track’s volume fader, the other track’s fader moves as well.

ADOBE PREMIERE 6.0

Automating the mixing process Use the automation buttons to control how Premiere handles your

adjustments for each track (for more information, see “Working with the Audio Mixer window” on page 263):

• Click Automation Read ( ) to have Premiere read the previously stored volume and pan values.

• Click Automation Write ( ) to have Premiere read the stored volume and pan values, and write

(record) the changes you make in the mixer.

• Click Automation Off ( ) to ignore any stored values and read only those you set in the mixer.

Use the options in the Audio Mixer Options dialog box (Window > Window Options > Audio Mixer Window Options) to determine how the Mixer handles the Automation Write process (for more information, see “Adjusting audio levels in the Audio Mixer window using automation” on page 266):

• Select Touch to write (record) changes only when you are dragging or holding the control in the Mixer.

• Select Latch to write (record) changes during and after you move the control in the Mixer.

• Select Write to always write (record). This option begins writing (recording) from the playback start

location of the fader.

• Select Write/Touch when you want to use the Write option until you stop the playback, at which point

you write (record) only when you move the fader.

User Guide

VU meters Each track has a separate VU Meter.

When the audio is clipping, the Clip Indicator at the top of the meter lights up. (Clipping occurs when the volume reaches or exceeds 0 db for 3 consecutive seconds. If you don’t lower the volume so it is within the clipping threshold, data will be lost.) Click the Clip Indicator light to turn it off.

Volume faders Each track has a separate volume

fader. Drag the fader up to increase volume; drag down to decrease volume. When you select Automation Write, changes you make to the volume fader are reﬂected by handles on the clip’s Volume rubberband in the Timeline.

What’s New in Premiere 6.0

Pan controls Each track also has a separate Pan

control. Panning is available only when your project’s Audio setting is Stereo. To pan audio, turn the Pan control to position sound to any degree between 100% to the left or 100% to the right. If a clip is mono, pan to shift the position of the sound within the project’s stereo ﬁeld. If a clip is stereo, pan to balance the amount of sound in the left and right channels.

When Automation Write is selected, changes you make to the Pan control are reﬂected by handles along the Pan rubberband in the Timeline.

Improved project management

Manage all of a project’s media using the ﬂexible Project window. Create multiple bins for organizing clips in a split-view project window; set the poster frame for a video clip; even preview the clip in a project thumbnail preview window. The new Project Settings dialog box offers presets for common video formats. The new Settings Viewer displays all settings (including capture, project, and export) in one screen and compares them to the clips in the project so that you can easily spot problems.

Project window The Project window now includes

a Preview area; when you select a clip in the Project window, Premiere displays the clip’s thumbnail along with ﬁle information. To play the thumbnail preview, click the play button ( ) under the preview to play a video clip, and click it again to stop. If you want to change a clip’s poster frame (the frame Premiere uses as an icon to represent the clip), scrub through the video preview until you ﬁnd the frame you want to use and then click the poster frame button ( ).

A. Thumbnail preview B. Play button C. Poster frame button

ADOBE PREMIERE 6.0

Premiere’s new Bin area provides a hierarchical presentation of ﬁles in your project. Click a bin to see its contents. Every project uses at least one bin. You can create new bins, nest bins within one another, and save bins to your hard disk as ﬁles for

use in other projects. For more information, see “Customizing a Project or Bin window display” on page 94.

B C D E F

A. Bin B. Find C. New Bin D. Create Item E. Delete Selected Items F. Resize Bin Area

The Project window also includes several new command buttons at the bottom left of the window:

• Click the new Find button ( ) to search for

ﬁles in the open project. You can search by any number of parameters.

• Click the New Bin button ( ) to create a new

bin. You can then drag ﬁles to the bin or import directly to the bin.

• Click the Create Item button ( ) to create a new title, ofﬂine ﬁle, color matte, black video, bars and

tone, or universal counting leader.

• Click the Delete Selected Items button ( ) to delete the selected bin or ﬁle.

• Drag the Resize Bin Area button to increase or decrease the size of the Bin area.

User Guide

Load Project Settings dialog box at startup When you launch Premiere 6.0, the ﬁrst dialog box you see is

Load Project Settings. This dialog box contains presets for the most commonly used default project settings, including eight DV-speciﬁc sets. If you have a capture card installed that includes its own preset, that preset will be listed as well. If you choose not to use a default preset, click Custom and select your own settings. You can save your customized settings for use as a preset. For more information, see “Specifying project settings” on page 74.

What’s New in Premiere 6.0

Settings Viewer Because matched settings are such

an important part of your video project, the Settings Viewer clearly displays all settings in one window. Settings that do not match appear red. To open this window, choose Project > Settings Viewer.

Use this window to ensure that your capture, project, and clip settings are the same throughout your project. Discrepancies between capture, project, and clip settings can cause unexpected behavior in your previews and ﬁnal output. It’s best to use the project and capture settings recommended or supplied by your capture card manufacturer. Export settings will always match your project settings until you change them, and you can change them to anything you want. For example, your capture, project, and clip settings may use a frame size of 720 x 480, but you can export the project as a RealVideo ﬁle with a 320 x 240 frame size.

If a setting appears red, double-click it and make the appropriate changes in the settings dialog box that appears. For more information, see “Comparing settings using the Settings Viewer” on page 82.

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Visualization tools

Premiere offers a number of new and enhanced features to help increase your productivity. With the new Storyboard window and its Automate to Timeline command, you can quickly visualize and implement the layout of clips in your project. The Automate to Timeline provides a quick and easy way to transfer all the clips in a Project window bin or storyboard to the Timeline. The Commands palette has been updated and enhanced with increased functionality and organization features.

Storyboard Use the storyboard to arrange clips

before adding them into the Timeline. Doubleclick a ﬁle in the storyboard to change its In or Out points, add markers, or include audio or video. Once you have your clips in order, automatically transfer them to the Timeline using the Automate to Timeline command, adding transitions between the clips if desired, or print the storyboard directly to the selected video output device.

With the context menu for the Storyboard window, you can locate the source clip, add the clip to the project, and change the speed of a video clip or the duration of a still clip. To access the context menu, right-click (Windows) or Control-click (Mac OS) the clip icon in the Storyboard window. For more information, see “Creating a storyboard” on page 203.

A. Sequence direction marker B. Clip information C. End of sequence marker D. Automate to Timeline button E. Print to Video button

User Guide

What’s New in Premiere 6.0

Automate to Timeline command Use this

command to automatically transfer the contents of a storyboard or a Project window bin to the Timeline. The Automate to Timeline dialog box offers several options for placing the clips in the Timeline, including selection of contents to place and the sorting order of the contents; the placement preference (sequentially or at unnumbered markers); insertion location; and the use of transitions between clips.

To place clips at unnumbered markers, create a series of unnumbered Timeline markers (see “Using markers” on page 185), positioning them at the exact location where you want the clips to appear. You can choose to stretch clips to ﬁll the space between markers or leave gaps between clips; clips that are longer than the duration between markers are automatically shortened.

To transfer a storyboard, click the Automate to Timeline button ( ) in the Storyboard window or choose Automate to Timeline from the Storyboard window menu, the Project menu, or the Storyboard window’s context menu.

To transfer a sequence from a bin, choose Automate to Timeline from the Project window menu or the Project menu. For more information, see “Adding multiple clips using an automated process” on page 201.

Commands palette This palette has been updated

and enhanced with increased functionality and organization features. When you select Button Mode in the palette menu, the commands appear in the colors you’ve designated. When you deselect Button Mode, you can add, delete, and change commands. When you are adding or changing a

A B C

command, the new Function Key menu provides a list of all available keys. New buttons at the bottom of the palette provide quick access for playing a

Button Mode selected (left) and deselected (right). A. Play Command B. Add Command C. Delete Command

command ( ), adding a command ( ), and deleting a command ( ). For more information, see “Using the Commands palette” on page 102.

ADOBE PREMIERE 6.0

Enhanced effect support

Premiere 6.0 has changed the way you add effects and transitions to video and audio. The new palettes provide easy access to all effects and transitions, and better organization. With the Effect Controls palette, you can manage all your effects from one location, and the Timeline window’s new keyframe track provides you with a visual representation of where effect keyframes are in the clips.

Video, Audio, and Transition palettes The Video

Effects, Audio Effects, and Transitions palettes are now organized by folders, which you can rename, reorganize, hide, or delete. For more information, see “Working with effects” on page 326.

To hide folders or ﬁles, select a folder or ﬁle and choose Hide Selected from the palette menu; to reorganize the content within a folder, drag ﬁles from one folder to another; and to remove folders, select the folder and choose Delete Folder from the palette menu. If you forget where you’ve moved an effect, locate it using the Find button ( ) at the bottom of the palette.

User Guide

Applying effects and transitions To apply an effect

or transition, drag the effect or transition from the palette to the clip in the Timeline. To delete an effect, select it in the Effect Controls palette and click the Delete button ( ). To delete a transition, select it and press the Delete key.

What’s New in Premiere 6.0

Effect Controls palette This palette is similar to the

Adobe After Effects Effect Controls palette. To open it, choose Window > Show Effect Controls. Use this palette to manage your effects: enable or disable keyframing, adjust settings, hide or show, and delete. The palette contains information on every effect applied to clips in your video program as well as any motion or transparency settings you’ve applied. To see an effect and its settings in the Effect Controls palette, select the clip in the Timeline. All the effects for the selected clip appear in the palette.

Some effects, including those from After Effects, do not use a Settings dialog box, so always check the Effect Controls palette for adjustable settings when applying an effect. For more information, see “Applying and controlling effects” on page 327.

Effect Keyframes Premiere uses keyframes to

change an effect’s behavior over time. Now you can add the keyframes directly in the Timeline, using the new Effect Keyframe area underneath each clip. Setting keyframes in the Timeline allows you to see when an effect’s settings change relative to the entire program. You can also quickly edit and preview the settings at each keyframe. For more information, see “Working with keyframes” on page 324.

ADOBE PREMIERE 6.0

Customizable workspace

Depending on the type of work you are doing in Premiere, you may want to hide or display certain window features and palettes. This arrangement of windows is called the “workspace.” When you start Premiere 6.0 for the ﬁrst time, you choose the workspace that you want to work within. You can choose a new workspace option from the Window > Workspace menu. You can also rearrange the workspace and save it as a custom workspace. Workspaces do not limit how you use the windows and palettes, since you can alter their arrangement at any time. For example, if you’re using the A/B Editing workspace, you can choose Dual View from the Monitor window menu to display the Source view. For more information, see “Selecting an editing workspace” on page 169.

A/B Editing workspace If you want to work in a

simple A/B roll environment, you can now simplify the work area by choosing the A/B Editing workspace:

• The Monitor window uses the Single View,

displaying only the Program View window and controllers. Individual clips open in separate Clip windows.

• The Timeline window displays the Video 1A

track expanded, with the transition track showing between Video 1A and Video 1B.

User Guide

What’s New in Premiere 6.0

Single-Track Editing workspace If you prefer to use

professional editing techniques and work with the Video 1 track as a single track, you’ll want to use the Single-Track Editing workspace:

• The Monitor window displays both the Source

• The Timeline window has a single Video 1 track.

Audio workspace The Audio workspace uses your

current workspace (A/B Editing or Single-Track Editing) with the following adjustments: clips open in a separate Clip window, the Audio Mixer is open, and no palettes are displayed.

Effects workspace The Effects workspace uses your current workspace (A/B Editing or Single-Track

Editing) with the following adjustments: the Monitor window displays in Single view, and the Effect Controls, Navigator, and Transitions palettes are active.

View and the Program View.

You can expand the Video 1 track to show the transition track and the A and B tracks.

Custom workspaces You can create your own custom workspace that combines your favorite features of

the different default workspaces. Premiere offers unprecedented ﬂexibility for you to choose your own work environment. Custom workspaces that take advantage of dual monitors can also be saved. Dualmonitor conﬁgurations offer additional ﬂexibility and the added beneﬁt of having more windows and palettes open and accessible.

ADOBE PREMIERE 6.0

Integration

New tools and a more familiar interface

Premiere now provides the Edit Original command so that you can quickly edit content that was created in another program. And the Adobe History palette makes experimenting with video edits and effects a carefree process! Premiere has also thoroughly integrated the Adobe interface familiar to those who have worked in other Adobe applications such as Adobe Photoshop and Adobe Illustrator.

Edit Original command The Edit Original

command opens clips in their original application so that you can edit them and then update them in the Timeline without exiting Premiere or replacing the ﬁles. The Edit Original command works with any application installed on your hard disk. For example, if you want to edit a clip that you created in After Effects, Photoshop, Illustrator, or Premiere, select the clip in your project and choose Edit > Edit Original. After you make and save changes in the original application, Premiere automatically incorporates those changes in your current project. To export a Premiere project with the information necessary to use the Edit Original command, choose Project Link from the Embedding Options menu in the Export Settings dialog box. For more information, see “Editing clips” on page 189.

User Guide

What’s New in Premiere 6.0

History palette Premiere’s new History palette

adds a new dimension to the Undo/Redo command. Use this palette to preview your project at a previous state. You can choose to delete all edits after the selected state, return to your current state, or incrementally restore states.

All states created during your current working session are listed in the History palette. If you jump to a state earlier in your project, all the following states are dimmed in the palette, and Premiere deletes them if you resume editing. You can manually delete them by clicking the Trash button ( ) or choosing Delete from the History palette menu. When you close a project, all states are removed from the History palette. For more information, see “Using the History palette” on page 104.

Adobe After Effects plug-in integration Premiere 6.0 has incorporated many effects from Adobe After

Effects 4.1. After Effects video effects are listed with the Premiere effects in the Video Effects palette, and include the After Effects symbol next to the name ( ). Some After Effects video effects replace similar Premiere effects; the replaced Premiere effects are located in the Obsolete folder in the Video Effects palette. If you open a project from Premiere 5.0 and need to use a replaced effect, choose Show Hidden from the Video Effect palette menu to access the obsolete effects. For more information, see “Using After Effects effects” on page 332.

Selecting a state temporarily removes the effects for all succeeding states.

Familiar Adobe interface The Premiere interface resembles the award-winning standard Adobe interface

used by other Adobe products such as Adobe Photoshop and Adobe Illustrator. The similarities make it easy to move between Adobe programs with efﬁciency and ease.

Chapter 1: Working with Projects

project is a single Premiere ﬁle that describes a video program. It stores references to all the clips in that ﬁle and contains information about how you arranged the clips. It also includes details of any transitions or effects you applied. You can add

and remove clips, organize clips into bins within the project, and substitute low-resolution clips as placeholders for your ﬁnal, high-resolution clips.

Selecting an initial workspace

When you start Premiere for the ﬁrst time (or when the Preferences ﬁle has been deleted), Premiere asks you to select an initial workspace. Based on your decision, Premiere optimizes the layout you will use to assemble and edit programs. Your choice of workspace depends on the kind of editing you will be doing.

If you will primarily be dragging clips from the Project window to the Timeline, select the A/B Editing workspace. If you will be using more advanced editing techniques such as three- or four-point editing, select the Single-Track Editing workspace. For more information, see “Customizable workspace” on page 67 and “Selecting an editing workspace” on page 169.

Starting a project

Start a new project by specifying project settings. It’s a good idea to save the project immediately afterward. See “Saving and autosaving a project” on page 83.

To start a new project:

1 Do one of the following:

• If Premiere is not open, start Premiere.

• If Premiere is already open, choose File > New Project.

CHAPTER 1

Working with Projects

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

• To apply preset project settings, select an item from the list of Available Presets and

click OK.

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

environment, and then click Custom, select your speciﬁc project settings, and click OK. See “Saving and loading project settings” on page 82.

Specifying project settings

When you start a project, review the project settings, which are organized into ﬁve categories:

General Settings Control the fundamental characteristics of the video program,

including the method Premiere uses to process video (Editing Mode), count time (Time Display), and play back video (Timebase). See “General settings” on page 75.

Video Settings Control the frame size, picture quality, compression settings, and aspect

ratios that Premiere uses when you play back video from the Timeline (the window where you edit your video program). See “Video settings” on page 77.

Audio Settings Control the characteristics of audio you play back from the Timeline. See

“Audio settings” on page 78.

Keyframe and Rendering Options Control frame-related characteristics when you build

(render) and play back video previews from the Timeline. These options work in combination with the Video settings. See “Keyframe and rendering options” on page 80.

Capture Settings Control how Premiere transfers video and audio directly from a deck or

camera. (Other Project Settings panels do not affect capturing.) For more information about capture settings, see “Digitizing analog video as DV” on page 113 and “Preparing for DV video capture” on page 120.

ADOBE PREMIERE 6.0

The appropriate settings for your project are usually determined by the current stage of your project. Many video capture cards provide their own presets or recommend project settings for optimal results. For information on comparing and changing settings, see “Comparing settings using the Settings Viewer” on page 82. Keep the following guidelines in mind as you progress through your project:

• When setting up or editing a project, specify settings that will provide the quality you

want when you play back the Timeline. For example, specify project settings that match the requirements of the ﬁnal program or that temporarily lower the frame rate so that your computer can process edits faster. For more information on using low-resolution ﬁles, see “About ofﬂine editing” on page 111.

• If you are about to use a videotape deck to record directly from the Timeline, specify

project settings that represent the ﬁnal picture quality you want.

• If you are about to export the video program to a ﬁle (for example, a QuickTime .MOV

ﬁle) and you want to specify different settings than you did for editing, you must also specify export settings. Export settings are available through the File > Export Timeline command, not in the Project Settings dialog box. Since you use separate settings for previewing and exporting, you can also maintain a set of preview settings that stays constant no matter how often you change export settings (such as when you repurpose a program for multiple distribution media such as television and the Web). When you specify project settings for the ﬁrst time, the settings are copied to the export settings, making your export settings the same as your project settings unless you change the project or export settings later. See “Exporting a video” on page 346.

User Guide

General settings

Choose Project > Project Settings > General, to specify the following options:

Editing Mode Determines which video method is used to play video back from the

Timeline and which compression methods are listed in the Video Settings panel. The QuickTime editing mode is installed with Premiere. In Windows, the Video for Windows and DV Playback editing modes are also installed. 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.

Note: The Editing Mode does not necessarily specify the export format. For more information, see “Exporting a video” on page 346.

CHAPTER 1

Working with Projects

Advanced Settings This button may be available if you have installed an editing mode

plug-in provided by another manufacturer. For information on settings for your plug-in editing mode, see the documentation provided by the plug-in’s manufacturer.

Timebase Speciﬁes the time divisions Premiere 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, 29.97 for editing NTSC (North American standard) video, or 30 for other video types. Do not confuse timebase with the frame rate of the video you play back or export from the Timeline, although timebase and frame rate often use the same value.

Playback Settings This button is available when you use a DV preset or choose the DV

editing mode (Windows) or QuickTime editing mode (Mac OS), or if you have installed a plug-in that provides additional playback functions. When you use the DV (Windows) or QuickTime (Mac OS) 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.

Time Display Speciﬁes the way time is displayed 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 was 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 motionpicture ﬁlm, choose Feet + Frames 16mm or Feet + Frames 35mm. To count individual frames and audio samples instead of timecode, choose Frames/Samples.

Current Settings Displays a summary of the settings you speciﬁed in all Project Settings

panels.

ADOBE PREMIERE 6.0

Video settings

Choose Project > Project Settings > Video, to specify the following options:

Compressor Speciﬁes the codec (compressor/decompressor) for Premiere to apply when

building a preview of the Timeline. The codecs available depend on the Editing Mode 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 chose an editing mode provided by a manufacturer of a video-capture card or other hardware, see the documentation for the hardware, as it may recommend a particular codec for editing with that hardware. Otherwise, consider choosing a fast codec so that edits are processed 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.

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

Depth Indicates the color bit depth, or number of colors to include in video played back

from the Timeline. 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 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 either select 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—Windows only) format.

User Guide

Frame Size Speciﬁes the dimensions, in pixels, for frames when you play back video from

the Timeline. Ideally, you want the frame size for your project to match the frame size of your video clips. A large frame size shows more detail but requires more processing. If preview playback is slow, you can reduce the frame size to a smaller dimension, as long as your capture card supports it. When changing the frame size, keep the dimensions proportional to the original video clip.

4:3 Aspect If you’re using analog captured video, select 4:3 Aspect to constrain the frame

size to the 4:3 aspect ratio used by conventional television. If you are using a D1/DV NTSC pixel aspect ratio, do not select this option.

CHAPTER 1

Working with Projects

Frame Rate Indicates the number of frames per second to play back video from the

Timeline. In general, type a value that matches the frame rate of the ﬁnal video, or type a lower value to process previews faster. When changing the frame rate, make sure that the new rate is evenly divisible by the original rate. For example, if your original frame rate is

29.97, lower it to 14.985, or if it is 30 fps, lower it to 15 or 10 fps.

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 video. 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 D1, DV, and various pixel aspect ratios” on page 147.

Quality Affects the picture quality and disk space used when you play back video from the

Timeline. Low quality usually plays faster and uses less disk space, and may be preferable for editing. High quality provides the best-looking image the selected compressor can provide, but requires more disk space. You can change the quality setting while working on a project without causing distortions or affecting the ﬁnal output. Some codecs, such as DV codecs, use a ﬁxed quality level and do not provide access to this option.

Data Rate If available for the selected compressor, places an upper limit on the amount of

video data that Premiere compiles for previews. Do not set the data rate higher than the data transfer capacity of your system. Select Limit Data Rate to _ K/Sec and type the data rate required. If previews do not play smoothly, reduce this value. By default, Premiere recompresses frames that use different settings than those selected in the Video settings dialog box. Select Always from the Recompress menu to compress every frame even if it is already within the data rate, or select Maintain Data Rate to preserve quality by compressing only the frames that are above the speciﬁed data rate.

Audio settings

Choose Project > Project Settings > Audio, to specify the following options:

Rate In general, higher rates provide better audio quality when you play audio back from

the Timeline, 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 capture audio at the ﬁnal rate. Note that with DV audio, you can capture only at the rate that was originally used to record the audio. In this case, it’s best to match the predominant rate of the clips in your project. If you want to use a different rate in your ﬁnal output, you can export at a different rate to resample, or you can change the rate in the project preset when you are done editing.

ADOBE PREMIERE 6.0

Format Higher bit depths and stereo provide better quality but require more disk space

and processing.

Compressor Speciﬁes the codec for Premiere to apply when playing audio back from the

Timeline. The codecs available depend on the Editing Mode you speciﬁed in the General panel in the Project Settings dialog box. Click Advanced Settings (if available) to set options speciﬁc to the selected codec. Generally, you don’t want to compress audio for playback from the Timeline; instead, compress audio when exporting.

Interleave Speciﬁes how often audio information is inserted among the video frames in

the preview ﬁle that is created when you play audio back from the Timeline. This value is set by the preset you choose and generally does not require adjusting. A value of 1 frame means that when Premiere plays back a frame, the audio for the duration of that frame is loaded into RAM so that it can play until the next frame appears. If the audio breaks up when playing, the interleave value may be causing the computer to process too much audio at once. Decreasing the value makes Premiere store longer segments that need to be processed less often, but it requires more RAM.

Enhanced Rate Conversion When you play audio back from the Timeline, this option

speciﬁes a level of quality for converting the sample rates of clips in the Timeline to the sample rate you speciﬁed in the Rate and Format options. Enhanced Rate Conversion controls both rate upsampling and downsampling. The Off option resamples audio the fastest, but produces moderate quality. The Better option balances quality and processing time. The Best option resamples audio for the highest possible quality but requires the most processing time. Because this option can affect playback performance, you may want to select Off while editing, and then select Better or Best for the ﬁnal render after you have ﬁnished editing or when you are exporting.

User Guide

Use Logarithmic Audio Fades Controls how audio gain increases or decreases are

perceived during playback in Premiere. Select this option to process gain levels using the logarithmic scale used by the human ear and by conventional volume controls. Deselect this option to process gain changes using a linear curve. Selecting this option creates more natural-sounding changes as sounds become louder or softer, but increases audio processing time. Audio faders in the Timeline are not changed except as a result of this option’s processing of the overall gain level.

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Create Audio Preview Files If There Are _ or More Speciﬁes when Premiere creates an

audio preview instead of real-time playback, based on how many audio tracks are active and how many audio effects are applied in those tracks. The number of audio tracks active and effects applied directly affects the load on your system resources. When your system resources are exceeded by audio processing demands, you will hear pops and clicks while playing back audio in Premiere. If you encounter this problem, decrease the settings for these parameters so that Premiere creates audio preview ﬁles instead of trying to process more than it can handle.

Keyframe and rendering options

Choose Project > Project Settings > Keyframe and Rendering to specify the following options:

Ignore Audio Effects Select to render audio without applied audio effects.

Ignore Video Effects Select to render video without applied video effects.

Ignore Audio Rubber Bands Select to render audio excluding changes made to the

Timeline’s rubberband controls for audio fading and audio panning.

Optimize Stills Select to use still images efﬁciently when rendering video. For example, if

a still image has a duration of 2 seconds in a project set to 30 frames per second, Premiere will create one 2-second frame instead of 60 frames at 1/30 of a second. Deselect this option if the exported video ﬁle exhibits playback problems when displaying the still images. This option is determined by your preset. Some capture cards do not support optimized stills—if you are using a preset provided by your capture card, do not adjust this setting.

Frames Only at Markers Select when you want to render only the frames at which you

have added a marker in the Timeline. This option does not affect compression keyframes.

Preview Choose To Screen when you want to preview edits, transitions, and effects but

don’t care if the preview is at ﬁnal playback speed. When To Screen is selected, Premiere renders directly to the screen as quickly as possible. Playback speed depends on image size and resolution, the number and complexity of effects and transitions, and the processing speed of your system. This option is not recommended for previewing areas that include many effects. Choose From Disk when you want to preview edits, transitions, and effects at the ﬁnal playback speed. With this option selected, Premiere renders the preview to the hard disk. Choose From RAM when you want to preview edits, transitions, and effects quickly, without having to ﬁrst render a preview ﬁle. When From RAM is selected,

ADOBE PREMIERE 6.0

Premiere creates a preview by displaying frames as they are rendered. Because frames are rendered in RAM, this process depends on the amount of RAM available. If sufﬁcient RAM is not available or if the frame rate, frame size, or effects used require more RAM than is available, frames may be dropped during playback, or Premiere may render the preview to disk instead. To minimize the effects of limited RAM, use a smaller frame size (for example, 320 x 240 or 240 x 180). A smaller frame size also produces a more even frame rate during Preview to RAM. If you have chosen From RAM or To Screen, you can speed up previewing by choosing 1:2 or 1:4 to reduce resolution. Choose 1:1 for normal resolution. To preview with the selected option, choose Timeline > Preview or press Enter (Windows) or Return (Mac OS). To stop a preview, press the spacebar.

Field settings Select an option that matches the playback display. This option is set by

your preset. If you use a preset provided by your capture card, do not change this setting. No Fields is the default and is the equivalent of progressive scan. Some DV cameras offer a “frame movie mode,” which resembles progressive scan. If you shot your video using this mode, or if you’re using video that is anything other than interlaced, use No Fields. Select Lower Field First for interlaced DV video to maximize motion smoothness. For analog video, select either Upper Field First or Lower Field First, depending on your capture card speciﬁcations, when your ﬁnal output will be played back on a television monitor using an interlaced standard such as NTSC, PAL, or SECAM. Choosing the wrong ﬁeld settings causes the video to ﬂicker or appear jagged when rendered and played back on an NTSC monitor.

User Guide

Some codecs support compression keyframes, which can increase the effectiveness of compression by acting as starting points for temporal compression. Temporal compression looks for ways to compact the description of the changes during a sequence of frames. It does this by looking for patterns and repetition over time. If the codec you speciﬁed supports compression keyframes, the following Keyframe Options are available:

Keyframe Every _ Frames Select and type the number of frames after which the codec will

create a compression keyframe when exporting video.

Add Keyframes at Markers Select to create a compression keyframe at each marker.

Add Keyframes at Edits Select to create a compression keyframe between each clip.

For information on the Capture Settings dialog box, see “Preparing for analog capture” on page 117 or “Preparing for DV video capture” on page 120.

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Working with Projects

Saving and loading project settings

Use the Save and Load buttons in the Project Settings dialog box to save all project settings into a ﬁle and later load them into a new project. Premiere comes equipped with settings ﬁles preset for typical programs, which you can adapt and save for your own projects. Most certiﬁed video-capture cards include preset settings ﬁles for Premiere. Adobe strongly recommends that if your capture card provides a preset ﬁle, you use it and do not manually change the settings. For information about loading saved settings, see “Starting a project” on page 73.

To save the custom settings as a preset for use in other projects:

1 In the New Project Settings dialog box, specify your settings, and then click Save.

2 In the Save Project Settings dialog box, type a name and description (if desired) and

click OK. The settings are saved as a preset ﬁle that appears in the list of available presets in the Load Project Settings dialog box.

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. These preset ﬁles are stored in the Settings folder in the Premiere folder on your hard disk, so you can back them up and distribute them if you want.

Comparing settings using the Settings Viewer

Premiere stores settings for projects and clips, as well as settings used when you export or capture ﬁles. To make it easier to see and compare settings, Premiere displays all settings together in the Settings Viewer window. Settings that do not match display in red. Avoid potential conﬂicts by matching settings for each of the four categories wherever possible. You can change Capture, Project, and Export settings by clicking the associated setting heading in the Settings Viewer window.

To view, compare, and adjust settings in the Settings Viewer:

1 Choose Project > Settings Viewer.

2 Compare settings and ensure that they are the same in each category. Settings that do

not match are red.

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3 To view the settings for different clips in your project, select a clip from the clip heading,

which is also a pop-up menu.

4 To change a setting, click the setting’s heading (for example, click Project Settings),

locate the setting in the dialog box that appears (you may need to navigate to different panels within a dialog box), change the setting, and then click OK.

5 Click OK when you are done comparing settings.

Saving and autosaving a project

Saving a project saves your editing decisions, references to source ﬁles, and the most recent arrangement of the program’s windows. Protect your work by saving often. If you prefer, Premiere can save your project automatically at a speciﬁed interval. Premiere can either save the project to the same ﬁle each time or to a new ﬁle. For example, you can set Premiere to save a new archive of your project every 15 minutes, producing a series of ﬁles that represent the state of your project at each interval. In this way, automatic archiving can serve as an alternate form of the Undo command, depending on how much the project changed 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 Project-Archive folder inside the Adobe Premiere 6.0 folder. For information about other ways of returning to earlier versions of a project, see “Correcting mistakes” on page 89.

User Guide

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Working with Projects

To save a project:

Do one of the following:

• Choose File > Save. If necessary, specify a location and ﬁlename, and click Save.

• To save a copy of a project under a new name or location and continue working in the new

copy of the project, choose File > Save As, specify a location and ﬁlename, and click Save.

• To save a copy of a project under a new name or location but continue working in the

original project, choose File > Save a Copy, specify a location and ﬁlename, and click Save.

To automatically save a project or series of projects:

1 Choose Edit > Preferences > Auto Save and Undo.

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

• In the Auto Save section, select Automatically Save Projects, and type the number of

minutes after which Premiere will save the project.

• In the Project Archive section, type a number for Maximum Files in Archive to specify

how many copies of project ﬁles from all projects will be saved into the Project-Archive folder. When the limit is reached, Premiere deletes the oldest project ﬁle to make room for the newest one. Type a number for the Maximum Project Versions to specify how many versions of each project ﬁle you want to save. For example, to save the last ﬁve versions of each project you work with, type 5.

To open an autosaved project ﬁle:

1 If a project is currently open, close it.

2 Choose File > Open.

3 Locate and double-click the Project-Archive folder in the folder containing Premiere.

4 Select a project ﬁle, and click Open. If no ﬁles are available, the autosave feature may be

turned off; see the previous procedure.

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Opening a project

You can open only one project at a time. Premiere recognizes Premiere project ﬁles created using versions 4.2 or later on Windows or Mac OS. See “Using a Premiere project on another platform” on page 87.

To open an existing Premiere project:

Choose File > Open. Locate and select the ﬁle, and then click Open.

Premiere doesn’t copy the original source ﬁle into the project—it stores only a reference to the source ﬁle based on its ﬁlename and location at the time you imported it. If you move, rename, or delete a source ﬁle after you import it, Premiere will be unable to ﬁnd it the next time you open the project. In this case, Premiere displays the Locate File dialog box, listing the missing ﬁle. You can resolve this situation using the options explained below.

OK (Windows) or Open (Mac OS) Replaces the missing ﬁle if you ﬁrst use this dialog box to

locate and select the original ﬁle or its replacement, and then click this button.

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 replace the ofﬂine ﬁle with the original ﬁle.

User Guide

All Ofﬂine 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 will disappear from the Project and Timeline windows.

Skip All Removes all references to all missing ﬁles throughout the project, without asking

you for conﬁrmation. See Skip.

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.

Skip Preview Files Skips preview ﬁles if they cannot be found by their original path and

ﬁle name. Preview ﬁles that can be found by their original path and ﬁle name are loaded automatically.

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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 Replace Files command. For more information, see “Using ofﬂine ﬁles” on page 158.

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 a Premiere project. 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.

Removing unused frames from source clips

Editing a video program means putting the best segments of the original clips into the program. Sometimes, the clips you use in the ﬁnal program are only small portions of the original clips. Because video clips can take up large amounts of hard disk space, you can trim the project so that unused frames are removed. Project trimming is especially useful before archiving a completed project.

When you trim a project, Adobe Premiere ﬁrst creates a copy of the project. In the new project, each clip’s original In and Out points become the new beginning and ending of the clip, respectively. Clips that weren’t used in the original project aren’t copied into the new project. Premiere can also create trimmed copies of the source clips. You can preserve extra frames (called handles) before the In point and after the Out point of each trimmed clip.

To trim a project:

1 With a project open, choose Project > Utilities > Project Trimmer.

2 Select Create Trimmed Batch List to create a batch list that can be used to redigitize the

trimmed versions of the clips. For more information, see “Creating a batch list to redigitize project clips” on page 137.

3 Select Copy Trimmed Source Files to make new copies of existing source ﬁles that

include only the frames used in the Timeline plus handles as speciﬁed below.

4 For Keep _ Frame Handles, type the number of frames to retain before the In point and

after the Out point of each clip so that edits can still be adjusted later.

Note: Adding handles after trimming a project a second time will offset your In and Out points.

5 Click Create Project.

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6 When asked, specify the location and name of the new project based on the trimmed

clips; make sure it’s a different folder than the original location. Click Save.

7 Close the original project. Choose File > Open, locate the trimmed version, and click OK.

8 Examine the trimmed version of the project. If it’s satisfactory, you can delete the

original project and its source clips or move them to an archive disk.

Using a Premiere project on another platform

Premiere project ﬁles are designed to be usable across computer platforms. You can open and work with a Premiere project on any other platform on which Premiere 6.0 is available.

Transferring a Premiere project to another platform is similar to moving a Premiere project to another computer: You must move not only the project ﬁle, but all of the source clips used in the project. In addition, follow these guidelines:

• All of the source ﬁles must be in a format supported by the destination platform. For

example, if you plan to transfer a project to Mac OS for editing, don’t use Windows PCX ﬁles. For more information about ﬁlename extensions and platform support for various ﬁle formats, see “Importing clips” on page 151.

• All ﬁles must conform to the destination platform’s ﬁlename conventions. For best

results, use the 8.3 ﬁlename convention (eight characters and a three-character ﬁlename extension). For example, a Premiere project uses the extension .PPJ.

• For best results, make sure that source clips are saved using cross-platform codecs such

as Motion JPEG A or Motion JPEG B, provided by QuickTime.

• Any fonts used in titles must be available on the destination platform.

• When you open the project on the other platform, you’ll be asked to locate each source

clip (see “Opening a project” on page 85). You might want to remove unused clips (see “Naming, ﬁnding, and deleting items” on page 97) or run the Project Trimmer (see “Removing unused frames from source clips” on page 86) so that you don’t have to transfer any more clips than necessary.

User Guide

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Working with Projects

Many Premiere settings ﬁles can be transferred across platforms, including batch capture lists (Windows ﬁlename extension: .PBL), batch processing lists (.HBP), edit decision lists (.EDL), exported ﬁle lists (.TXT), ﬁlmstrip ﬁles (.FLM), motion settings (.PMT), project ﬁles (.PPJ), project settings (.PRS), storyboards (.PSQ), and titles (.PTL).

Command sets (.PFN) and transition sets (.PFX) files cannot be transferred across platforms.

If you have trouble opening a project ﬁle from another platform by double-clicking, try

using the File > Open command from within Premiere.

Setting up Premiere’s scratch disks

When you edit a project, Premiere processes your changes in RAM. When the available RAM isn’t enough, Premiere can use hard disk space as an additional work area. Also, Premiere stores some project information, such as preview ﬁles, on your hard disk, using the disk the same way you would use a paper scratch pad. If your system has access to multiple volumes (disks or disk partitions), you can specify which one Premiere uses as a scratch disk for the different temp ﬁles it creates when capturing movies, building video previews, and building audio previews. The scratch disk space Premiere uses increases as a program becomes longer or more complex. For maximum performance, follow these tips:

• Store Premiere and the operating system on one hard disk, and capture video to an

additional AV-certiﬁed hard disk on which nothing else is stored. Save and store your project on the same hard disk as Premiere (preferably the system disk).

• Specify your fastest hard disk for video preview files and capturing. You can use a slower

disk for audio preview files. Ideally, you want your video and audio preview ﬁles on different disks to reduce the amount of activity necessary for playback. Two partitions on the same disk do not improve playback—you must use two physically different disks.

• Specify only disks attached to your computer—a hard disk located on a network is

usually too slow. Removable media may be acceptable if it is fast enough.

To specify scratch disks:

1 Choose Edit > Preferences > Scratch Disks and Device Control.

2 For Captured Movies, select or create a new folder where Premiere will store video and

audio ﬁles when you digitize using Premiere.

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3 For Video Previews, select or create a new folder where Premiere will store ﬁles

generated when previewing video clips.

4 For Audio Previews, select or create a new folder where Premiere will store ﬁles

generated when previewing audio clips.

5 Click OK.

When generating preview ﬁles, Premiere can warn you when a scratch disk you speciﬁed is running out of space. You can specify the point at which the warning appears.

To specify the warning level for low disk space:

1 Choose Edit > Preferences > General and Still Image.

2 For Low Disk Space Warning Level, indicate in kilobytes the amount of unused scratch

disk space that will trigger the warning. Click OK.

Correcting mistakes

If you change your mind or make a mistake, Premiere 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.

User Guide

To correct mistakes:

Do one of the following:

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

99 of the most recent changes made to the program in any Premiere window. The 99 levels of undo are shared among all Premiere windows.

• To jump to a speciﬁc state of the project within the last 99 changes, select an item in the

History palette. See “Using the History palette” on page 104.

• 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 that may be stored in the Project Archive folder. The degree to which you can go back depends on the settings you speciﬁed for automatic project archiving and how often you saved. See “Saving and autosaving a project” on page 83.

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• To stop a change that Premiere isn’t ﬁnished processing (for example, when you see a

progress bar), press Esc, or press Command-period (Mac OS only)

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

For both the Undo menu item and the History palette, you can specify the number of steps that can be undone. The default is 15. Specifying more steps increases memory requirements but may not affect performance.

To set the number of undo levels:

1 Choose Edit > Preferences > Auto Save and Undo.

2 In the History/Undo Levels section, type a number for Levels of Undo (1 to 99) and

click OK.

3 Exit and restart Premiere. You do not need to restart the computer.

Working with windows in Premiere

Three named windows form the main work area in Premiere:

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

all source clips you import into a project, though you don’t have to use every clip you import.

• 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.

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

audio, and superimposed video tracks. Changes you make in this window appear in the Program view.

For an introduction to these windows, see, “An Overview of Adobe Premiere.” For more information about using and customizing the Project window, see “Using the Monitor window” on page 163 and “Using the Timeline window” on page 171.

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Premiere also provides specialized windows for tasks such as capturing video (see “Using the Movie Capture window” on page 125), creating titles (see “Creating and setting up a new title” on page 275), mixing audio (see “Working with the Audio Mixer window” on page 263), and storyboarding (see “Creating a storyboard” on page 203).

When you exit Premiere, the positions of windows and palettes are saved. In addition, you can create and save named window layouts as a workspace. For more information, see “Customizable workspace” on page 67 and “Selecting an editing workspace” on page 169.

Using window and palette menus

In Premiere, most windows and palettes include menus that can be displayed by clicking a button. In addition, all windows also 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. Choose a menu item or click outside the menu to close it.

User Guide

To open window context menus:

Right-click (Windows) or Control-click (Mac OS) in the window. Choose a menu item or click outside the menu to close it.

CHAPTER 1

Working with Projects

Using the Project window’s bin view

A Project window includes a bin view, which shows the bins that have been added to the project. The bin view appears on the left side of the Project window, and can be resized or hidden. When the bins in the bin view contain other bins, the hierarchical structure appears, much like the graphical view of folders and subfolders in your operating system.

KJIHGFED

A. Thumbnail viewer B. Bins C. Clip D. Find E. New Bin F. Create Item G. Delete Selected Items H. Resize Bin Area I. Icon View J. Thumbnail View K. List View L. Clip information M. Project window menu

To hide or display the bin view:

Choose Hide Bin Area or Show Bin Area from the Project window menu.

To resize the bin view:

Drag the Resize Bin Area button located at the bottom of the Project window until you have the size you want. You cannot make the bin view smaller than the four buttons below it. To make it bigger, you may need to ﬁrst make the Project window bigger.

Macromedia Premiere - 6.0 User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Registration

Installing Adobe Premiere

Learning Premiere

Using Web resources

Other learning resources

Customer support

An Overview of Adobe Premiere

Setting up your workspace

Starting a project

Work area overview

Using tools and palettes

Looking at the Project window

Looking at the Timeline window

Looking at the Monitor window

Acquiring source material

Adding clips to the Timeline

Trimming clips

Editing clips in the Timeline

Applying transitions

Previewing a clip or a video program

Adjusting audio levels

Panning or balancing audio

Applying effects

Using the Title window

Creating composites

Animating a still image

An overview of output options

Exporting to the Web

What’s New in Premiere 6.0

DV functionality

Built-in Web export for one-step Web output

Enhanced Monitor and Timeline windows

Audio Mixer

Improved project management

Visualization tools

Enhanced effect support

Customizable workspace

New tools and a more familiar interface

Selecting an initial workspace

Starting a project

Specifying project settings

Comparing settings using the Settings Viewer

Saving and autosaving a project

Opening a project

Removing unused frames from source clips

Using a Premiere project on another platform

Setting up Premiere’s scratch disks

Correcting mistakes

Working with windows in Premiere

Using the Project window’s bin view