Macromedia Premiere - 6.5 Instruction Manual

Adobe Premiere Help Using Help

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Using Help

About online Help

Adobe Systems, Inc. provides complete documentation in the Adobe PDF Help system. The Help system includes information on all the tools, commands, and features for both Windows and Mac OS. The PDF format is designed for easy navigation online, and support for third-party screen readers compatible with Windows. The Help can also be printed as a desktop reference.

Navigating in Help

The Help will open in an Acrobat window with the bookmark pane open. If the bookmark pane is not open choose Window > Bookmarks. You can also navigate using the navigation bar, the index, or search the document.

At the top and bottom of each page is a navigation bar. Click Using Help to return to this introduction. Clicking Contents, or Index will take you to that section.

The Next Page and the Previous Page arrows let you move through the pages sequentially. Click Back to return to the last page you viewed. You can also use the navigation arrows in the Acrobat toolbar.

Using bookmarks, the table of contents, the index, and Find

The contents of Help are shown as bookmarks in the bookmark pane. To view subtopics, click the plus sign next to a bookmark. Each bookmark is a hyperlink to the associated section of the Help document.

To go to the information, click its bookmark. As the information is displayed in the document pane, its bookmark is highlighted.

You can turn highlighting on or off by selecting the Highlight Current Bookmark option from the bookmark pane menu.

To ﬁnd a topic using the table of contents:

1 Click Contents in the navigation bar at the top or bottom of any page.

Click a topic on the Contents page to move to the ﬁrst page of that topic.

In the bookmark pane, expand the topic to see its subtopics.

To ﬁnd a topic using the index:

1 Click Index in the navigation bar at the top or bottom of any page.

Click the appropriate letter at the top of the page.

You can also expand the Index bookmark, and click the letter in the bookmark pane.

Locate your entry, and click the page number link to view the information.

To view multiple entries, click Back to return to the same place in the index.

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Adobe Premiere Help Using Help

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To ﬁnd a topic using the Find command:

1 Choose Edit > Find.

Enter a word or a phrase in the text box, and click OK.

Acrobat will search the document, starting from the current page, and display the ﬁrst occurrence of the word or phrase you are searching for.

To ﬁnd the next occurrence, choose Edit > Find Again.

Printing the Help ﬁle

Although the Help has been optimized for on-screen viewing, you can print pages you select, or the entire ﬁle.

To print, choose Print from the File menu, or click the printer icon in the Acrobat toolbar.

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Adobe Premiere Help Contents

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troduction 4

Working with Projects 9

Capturing and Importing Source Clips 33

Editing Video 71

Adding Transitions 126

Mixing Audio 135

Creating Titles 148

Superimposing and Compositing 163

Animating a Clip 173

Applying Effects 180

Producing Final Video 218

Using the Adobe Title Designer 242

Using the New Features in Premiere 6.5 272

Macintosh Shortcuts 281

Windows Shortcuts 291

Legal Notices 301

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Adobe Premiere Help Introduction

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Introduction

We l c ome

Welcome to Adobe to the Windows

Premiere

and Macintosh desktop. Adobe Premiere provides extensive support for video capture cards, hardware systems, and many input/output formats. Moreover, Adobe Premiere provides a consistent work environment with other Adobe applications including Adobe Photoshop LiveMotion

™

, and Adobe After Effects

6.5—software that brings the world of digital video editing

, Adobe Illustrator

, Adobe InDesign

, Adobe GoLive

, Adobe

Registration

Adobe is conﬁdent you will ﬁnd that its software greatly increases your productivity. So that Adobe can continue to provide you with the highest quality software, offer technical support, and inform you about new Adobe Premiere software developments, please register your application.

When you ﬁrst start Adobe Premiere, 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 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.

Follow the on-screen installation instructions. For more detailed information, see the

HowToInstall ﬁle on the CD.

Getting started

Adobe provides a variety of options for you to learn Adobe 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 Adobe Premiere, from tips and tutorials to tech support information. Getting up to speed depends on your experience with previous versions of Adobe Premiere.

If you are new to Premiere:

See the Overview chapter in the Adobe Premiere 6.0 User Guide to get an introduction to

•

the software.

Use the tool tips feature to help identify tools, buttons, and palette controls as you work

•

in Premiere. See “U

•

Go to the Adobe.com Web site and work through some of the Premiere tutorials for hands-on lessons. See “U

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sing tool tips” on page 6.

sing Web resources” on page 6.

Adobe Premiere Help Introduction

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If you are an experienced Premiere user:

Check out the new Adobe Title Designer to see how you can expand your creativity

•

with titles. See “

•

See “U

sing Real-Time Preview” on page 272 to learn about Premiere’s powerful new

software-based Real-Time Preview option.

•

Explore the exciting new effects included with Premiere 6.5. See “U

from Adobe After Effects” on page 276.

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If you’re a Windows user, learn how to create top of the line MPEG output for DVD, Super DVD, or Video CD. See “U

page 273.

If you’re a Macintosh user, learn how to export your projects to a variety of popular

•

formats using the QuickTime File Exporter. See “U

OS only)” on page 275.

Opening a new or saved title” on page 243.

sing new effects

sing the Adobe MPEG Encoder (Windows only)” on

sing the QuickTime File Exporter (Mac

Using the printed documentation

In addition to the printed documents included with the application, you will ﬁnd many PDF documents on the Premiere CD; Adobe Acrobat

Reader

software, included on the

Premiere CD, lets you view PDF ﬁles.

Two printed documents are included with Premiere 6.5:

Adobe Premiere 6.5 User Guide supplement Contains essential information on using

Premiere’s new commands and features. Complete information on all topics is available in online Help.

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 includes complete documentation in an HTML-based help system. The help system includes all of the information in the Adobe Premiere 6.5 User Guide

Supplement,

keyboard shortcuts, and full-color illustrations.

Online Help provides three ways of locating information. The Contents and Index tabs let you ﬁnd general information, and the Search tab lets you look up speciﬁc words or phrases.

the

Adobe Premiere 6.0 User Guide,

plus information on additional features,

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:

Do one of the following:

Choose Help > Premiere Help.

•

Press F1 (Windows).

•

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Adobe Premiere Help Introduction

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Using tool tips

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

To identify a tool or control:

Position the pointer over a tool or control 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.

To display tool tips:

1 Choose Edit > Preferences > General (Windows and Mac OS 9) or Adobe Premiere

6.5 > Preferences > General (Mac OS X).

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, you can use the Adobe Online feature to access additional resources for learning Premiere located on the Adobe.com Web site. From the Adobe.com home page, select Digital Video Products. Then choose Premiere and look in the Product Info, Support, and Training & Events sections.

These resources are continually updated and include the following:

Tutorials and Techniques Provide step-by-step instructions on using Premiere 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.

Technical guides

detailed reference information on a variety of topics. This information provides help on everything from common processes to the complex tasks necessary to prepare movies for the Web.

Troubleshooting

Premiere. You should check out troubleshooting information available through Adobe Online and the Adobe Web site before you call customer support.

To access the Adobe home page for your region:

Open the Adobe U.S. home page at www.adobe.com.

From the Adobe Worldwide menu, choose your geographical region. Adobe’s home

page is customized for 20 different geographical regions.

Provide access to procedures for performing tasks in Premiere and to

Provides access to solutions to problems you may encounter using

About Adobe Online

Adobe Online provides access to the latest tutorials, quicktips, and other Web content for Premiere and other Adobe products. Using Adobe Online, you can also access the Web page containing current links to the latest Premiere technical support solutions.

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Adobe Premiere Help Introduction

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Using Adobe Online

Adobe Online is constantly changing, so you should refresh before you use it. Refreshing through Adobe Online updates bookmarks and buttons so you can quickly access the most current content available. You can use preferences to automatically refresh Adobe Online.

When you set up an Internet connection to Adobe Online, Adobe can either notify you whenever new information is available through the Updates feature or automatically download that information to your hard disk. If you choose not to use the automatic download feature, you can still view and download new ﬁles whenever they are available using the Updates command in the Help menu.

To use Adobe Online:

In Premiere, choose Help > Adobe Online.

Note:

You must have an Internet connection to access Adobe Online. Adobe Online will

launch your browser using your default Internet conﬁguration.

If prompted, do any of the following:

•

Click Updates to access updated ﬁles.

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Click Preferences to set up your operating system to enable automatic updates.

Note: You can set Adobe Online preferences by choosing Edit > Preferences > Online

Settings (Windows and Mac OS 9) or Adobe Premiere 6.5 > Preferences > Online Settings (Mac OS X).

Click Go Online to access the Adobe Web site.

•

Click Cancel (Windows and Mac OS 9) or Close (Mac OS X) to return to Premiere.

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Accessing Adobe Online through the Help menu

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

To view updated articles or documents:

Click Help and choose the topic you want to view.

To view and download information from the Adobe Web site using the Help menu:

In Premiere, choose Edit >Preferences > Online Settings (Windows and Mac OS 9)

or Adobe Premiere 6.5 > Preferences > Adobe Online (Mac OS X).

Choose an item from the Check for Updates pop-up menu to determine how often Premiere launches an automatic update.

Choose Help > Updates.

Select a View Option:

Select New Updates to view only the ﬁles that are new since the last time you viewed

•

downloadable ﬁles or were notiﬁed of them.

•

Select All Updates to view all the ﬁles on Adobe’s Web site that are currently available.

To see a description of a ﬁle, click on a ﬁlename and view its description in the Item

Description section.

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Adobe Premiere Help Introduction

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To see the location where a ﬁle will be installed if downloaded, select a ﬁle and view its

location in the Download Location section. To change the location, click Choose.

To download a ﬁle, click the check box next to the ﬁle name, and then click Download.

To close the Adobe Product Updates dialog box, click Close.

Other learning resources

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

Adobe Press Offers a library of books that provide in-depth training in Adobe software,

including the acclaimed Classroom in a Book series developed by experts at Adobe. For information on purchasing Adobe Press titles, visit the Adobe Web site at www.adobe.com, or contact your local book distributor.

The Adobe Certiﬁcation program Offers users, instructors, and training centers the

opportunity to demonstrate their product proﬁciency and promote their software skills as Adobe Certiﬁed Experts or Adobe Certiﬁed Training Providers. Certiﬁcation is available worldwide. Visit the Partnering with Adobe Web site at http://partners.adobe.com to learn how you can become certiﬁed.

Customer support

When you register your product, you may be entitled to technical support. 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 the Premiere Knowledgebase, where you can ﬁnd answers to technical questions.

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 the Adobe Web site from Premiere, choose Help > Adobe Online or click the icon at the top of the toolbox. See “U

sing Web resources” on page 6.

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Adobe Premiere Help Working with Projects

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Wo r king with Projects

Wo r king with a project

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 “Selecting an editing workspace” on page 76.

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 17.

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.

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 16.

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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 11.

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 12.

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

“Audio settings” on page 13.

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 14.

Capture Settings

camera. (Other Project Settings panels do not affect capturing.) For more information about capture settings, see “Digitizing analog video as DV” on page 36 and “Preparing for DV video capture” on page 41.

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

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 16. 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 35.

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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 224.

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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 224.

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 motion-picture 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.

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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.

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.

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 62.

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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.

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.

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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 Good 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.

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.

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.

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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, 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.

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 39 or “Preparing for DV video capture” on page 41.

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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 9.

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.

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.

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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 21.

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.

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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.

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 19.

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.

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.

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 70.

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.

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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 54.

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.

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 64.

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• 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 18). You might want to remove unused clips (see “Naming, ﬁnding, and deleting items” on page 27) or run the Project Trimmer (see “Removing unused frames from source clips” on page 19) so that you don’t have to transfer any more clips than necessary.

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.

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 31.

• 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 17.

• 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.

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Wo r king 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 more information about using and customizing the Project window, see “Using the Monitor window” on page 71 and “Using the Timeline window” on page 78.

Premiere also provides specialized windows for tasks such as capturing video (see “Using the Movie Capture window” on page 45), creating titles (see “Editing titles” on page 148), mixing audio (see “Working with the Audio Mixer window” on page 141), and storyboarding (see “Creating a storyboard” on page 101).

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 “Selecting an editing workspace” on page 76.

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.

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.

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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.

To add or delete a container in the bin view:

• To delete one or more bins, select the bin and click the Delete Selected Items button ( )

at the bottom of the Project window.

• To add a bin, click the New Bin button ( ) at the bottom of the Project window.

To display the contents of a bin in the bin view:

Select the bin. If the bin contains other bins, click the triangle beside the bin icon to display them, and then select the bin you want to view.

Organizing clips using bins

Clips in a project can be arranged in bins (with bins inside of bins, if you like), just as ﬁles are arranged in folders on your hard drive. Bins are particularly useful for organizing a complex project containing a large number of clips. You can also save a bin for use in other projects.

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To manage clips using a bin:

Do any of the following:

• To create a bin, Choose File > New > Bin or click the New Bin button ( ) in the Project

window. Type a name for the bin, and then click OK.

• To move a clip into a bin, drag the clip to the bin icon. If the bin window is open, drag

the clip to the bin window. In the same way, you can store a bin inside another bin.

• To view the contents of a bin, select the bin in the Project window.

• To open a bin in its own window, right-click (Windows) or Control-click (Mac OS) the

bin, and choose Open Bin in New Window.

• To make a bin available for use in other projects, select the bin and choose Project >

Export Bin from Project, or right-click (Windows) or Control-click (Mac OS) the bin and choose Export Bin from Project. Then, type a name, choose a location for the bin, and click Save. Bins created and saved in Windows use the extension .PLB.

• To use a saved bin ﬁle in any project, click File > Open, select the bin ﬁle (.PLB), and

click Open.

Using libraries from earlier versions of Premiere

In previous versions of Premiere, you could create containers called libraries, which were used to store clips from one or several projects. A library was stored as a separate ﬁle apart from any project. Although Premiere 6.0 doesn’t directly support libraries, you can open a library. The library is converted into a bin when you open it in a Premiere 6.0 project. If you want to store a set of clips so that they are available for other projects, simply save the bin that contains the clips. See “Using the Project window’s bin view” on page 23.

To import a library:

1 Choose File > Open.

2 Locate and select the library (.PLB) ﬁle, and then click Open.

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Customizing a Project or Bin window display

Each clip appears in a Project or Bin window with its ﬁlename, ﬁle type, and duration. You can customize the kind of information that a Project or Bin window displays, and apply different display options to each individual window.

A B

A. Bin view B. Resize Bin Area button

To change a Project or Bin window view:

Click the Icon View ( ), Thumbnail View ( ), or List View ( ) buttons at the bottom of the window.

To sort items in the Thumbnail View or List View:

Do one of the following:

• Click the column heading by which you want to sort the items.

• To reverse the sort order of column items, click the same column heading again.

• To rearrange columns in List View, drag column headings left or right as needed.

• To resize the Bin column, drag the Resize Bin Area button ( ).

To customize Icon View, Thumbnail View, or List View:

1 Choose Window > Window Options > Project Window Options.

2 At the top of the dialog box, choose Icon View, Thumbnail View, or List View.

The remaining options depend on which view you choose. Select from these options (if available) and then click OK:

• Select a Size for the icon that will represent each ﬁle in the Project or Bin window.

• Select Snap to Grid to make window icons line up according to an invisible grid.

• Select Draw Icons to make icons visible. Deselect this option to prevent icon display and

make the Project window display faster.

• Type labels for the four ﬁelds that you can deﬁne.

• Select a sorting method for items in the window.

• Select the ﬁelds you want to display in the List View.

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To rearrange a Project or Bin window in the Icon View when icons obscure other icons:

With the Icon View active, choose Clean Up View from the Project window menu.

Viewing clip information in the Project window

At the top of a Project or Bin window is the thumbnail viewer, which you can use to preview individual clips. This viewer uses the ﬁrst frame of a clip as the icon or poster frame; this frame is used when the Project window is set to Icon View or Thumbnail View—it is also used as the sample frame for the Title window (see “Importing a sample frame” on page 148). You can change the poster frame to any frame in the clip.

To view a clip and its information in the Project window:

1 Select the clip in the Project window. Premiere displays the clip’s information beside the

thumbnail viewer in the upper left corner of the Project window.

Note: The average data rate is displayed for all video clips. This information is useful for analog video because maintaining a consistent data rate for all clips in a project results in smoother playback from the Timeline.

2 View the clip by pressing the Play button ( ) on the thumbnail viewer. Press Play again to stop playback.

3 Select List View, if necessary, and expand or scroll along the right side of the window to see all of the columns of information.

4 Choose Clip > Properties.

To change the poster (icon) frame for a clip:

1 Select the clip in a Project window.

2 Press the Play button ( ) or drag the play slider on the thumbnail viewer in the upper

left corner of the Project window until the frame you want is displayed.

3 Click the Set Poster Frame button ( ).

Using the Project window’s List View ﬁelds

The following ﬁelds are available in the List View:

Name By default, displays the clip name on disk. You can change the name the clip uses inside the project. For more information, see “Naming, ﬁnding, and deleting items” on page 27.

Date The most recent modiﬁcation date of the source ﬁle.

File Path Location of the ﬁle on disk, expressed as a folder path.

Log Comment The text typed in the Comment ﬁeld when the clip was logged during

capture, if it was captured using Premiere.

Media Type The kind of media, such as Movie or Still Image.

Video Info The clip’s video characteristics, such as the frame size.

Audio Info The clip’s audio characteristics, such as sample rate, sample size, and stereo

or mono.

Video Usage The number of times the video component of a clip is used in the Timeline.

Audio Usage The number of times the audio component of a clip is used in the Timeline.

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Duration Length of the clip, expressed in the currently speciﬁed Time Display option

(see “General settings” on page 11).

Timecode The timecode of the ﬁrst frame, for source video that was captured from tape.

Reel Name The reel name typed in when the clip was logged during batch capture, if it

was captured using Premiere.

Notes Displays comments you type in this ﬁeld. You can change the name of this ﬁeld.

Labels Additional ﬁelds for labels to be used for identiﬁcation and sorting. You can

change the names of these ﬁelds.

In Icon View, you can arrange the icons by dragging them. If you select and drag

multiple icons to the Timeline at once, they will appear in the Timeline in the same order as in the Project Window.

Naming, ﬁnding, and deleting items

Manage the clips and other items in your project using the tools to rename, ﬁnd, and delete items. All clips in your project (including captured DV clips that automatically appear in the Project window after capturing) exist on your hard disk—only a reference to each clip is added to the Project window in Premiere. Whenever you rename, edit, or delete a clip in Premiere, the original ﬁle remains untouched on your hard disk.

To manage project items:

Do any of the following:

• To rename a clip, select the item, choose Clip > Set Clip Name Alias, type the new name,

and then click OK. In List View, you can also select the name and type a new one.

• To rename a bin, select the bin name, highlight the old name or backspace over it, and

type the new name.

• To view a clip’s original name or change its alias, select the item in the Project or Bin

window and choose Clip > Set Clip Name Alias. Type a new name or click None to remove the alias.

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

Windows Explorer (Windows) or Finder (Mac OS). The next time you open the project that uses the renamed ﬁle, Premiere will ask you to locate the ﬁle (see “Opening a project” on page 18).

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

• To delete all clips in a project that are not currently used in the Timeline, choose

Project > Remove Unused Clips (also see “Removing unused frames from source clips” on page 19).

Note: Because Premiere stores references to clips and not the originals, deleting a clip from a project or bin removes it from the project and Timeline (if it was included there) but does not delete the corresponding original source clip from your hard disk.

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

Thumbnail View or List View, select the window you want to search and choose Edit > Find. Specify options as needed and click Find. To ﬁnd an item in the Project window, click the Find button ( ), specify options, and click Find.

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Printing window contents

You can print the contents of the Project, Storyboard, or Timeline windows for use in a storyboard or to document your project. You can also print the File Properties and Data Rate Graph windows or the ﬁrst frame of the clip in the Clip window.

To print the contents of a window:

1 Click the Project, Storyboard, Timeline, Clip, File Properties, or Data Rate Graph window

to activate it.

2 If necessary, choose File > Page Setup, specify page options, and click OK.

3 Choose File > Print, specify printing options and click OK.

Note: The options in the Page Setup and Print dialog boxes come from the driver software for the currently selected printer, not from Premiere. For information about printing options, see the documentation for your printer software.

To save paper when printing a wide window, such as the Timeline, choose File > Page

Setup and set the paper orientation to Wide or Landscape.

Creating a text list of project ﬁles

To document the contents of a project, you can export a text ﬁle that lists all the clips used in a project. The list displays the original ﬁlenames of clips, bins, and bin contents in the order in which they appear in a Project window. If a Bin window is active when you export, Premiere exports a ﬁle list for the project that includes the bin and its contents. In Windows, the ﬁle list contains the pathname to the ﬁle. In Mac OS, you can choose whether you want to include the full pathname.

To export a ﬁle list:

1 Activate a Project window.

2 Choose File > Export Timeline > File List.

3 Specify a location and type a name for the ﬁle list.

4 (Mac OS only) Select Include Full Path Names if you want to include a complete folder

path for each ﬁle in the list.

5 Click Save.

Changing the startup window

When you start Premiere, it displays the palettes you left open the last time you used Premiere. You can also make the Open, New Project, or Load Settings dialog box appear automatically at startup.

To change the startup window:

1 Choose Edit > Preferences > General and Still Image.

2 Choose an option from the Window at Startup menu and click OK:

• None starts Premiere with the palettes from the previous session.

• New Project opens the New Project dialog box when you start Premiere.

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• Open Dialog opens the Open dialog box when you start Premiere.

• Load Settings opens the Load Project Settings dialog box when you start Premiere.

Wo r king with palettes

Adobe Premiere includes several palettes that display information and let you modify clips. You can display, hide, or recombine palettes as you work.

Changing the palette display

You can change the arrangement and display of palettes and palette groups to make the best use of space on your monitor.

To show and hide palettes:

Do one of the following:

• To show or hide a palette, choose the name of the palette from the Window menu.

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

To move a palette to another group:

Drag a palette tab to that group.

Drag a palette to another group (left). Palettes are combined (right).

To separate a palette:

Drag a palette tab to another location.

To dock a palette to another palette group:

Drag a palette tab to the bottom of another palette until the bottom of the destination palette is highlighted, and then release the mouse.

To separate a palette from other palettes to which it is grouped or docked:

Drag a palette tab away from the other palettes.

If you have more than one monitor connected to your system and your operating

system supports a multiple-monitor desktop, you can drag palettes to any monitor.

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Using the Info palette

The Info palette displays information about a selected clip or transition. If you drag a clip in the Timeline, you can watch the starting and ending time change in the Info palette. The information displayed in the palette may vary depending on factors such as the media type and the current window. For instance, an empty space in the Timeline, a rectangle in the Title window, and a clip in the Project window display information unique to each item when selected.

Using the Navigator palette

Use the Navigator palette to quickly change your view of the Timeline by dragging a view box within a miniature representation of the Timeline. You can also change the level of detail displayed in the Timeline.

BACD

A. Timecode B. Zoom Out button C. Zoom slider D. Zoom In button E. Current View box

F. Edit Line G. current work area

To change the view of time using the Navigator palette:

Do any of the following:

• Double-click the timecode, type a new time, and press Enter (Windows) or Return

(Mac OS). The edit line moves to the new time.

• Click the Zoom Out button to make more of the Timeline visible at once.

• Drag the Zoom slider left to reduce or right to magnify the Timeline.

• Click the Zoom In button to magnify the Timeline at the edit line.

• Drag the Current View box to scroll the Timeline.

• Press Shift as you drag the edit line in the Navigator palette to move the edit line in

the Timeline.

Using the Commands palette

The Commands palette comes with a list of preset commands, which you can modify to suit your needs. You can create a custom set of buttons for fast access to your favorite menu commands, and assign a function key to each button for instant keyboard access.

To add a command to the palette:

1 If the Commands palette is not visible, click its tab or choose Window > Show

Commands.

2 Choose Button Mode from the palette menu to deselect it.

3 Click the Add Command button ( ).

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4 For Name, type the text you want to appear on the button (optional).

5 Choose the command for the new button from the Premiere menu bar.

6 For Function Key, choose the keyboard shortcut you want for the button (optional).

The menu displays keys that are not already assigned to other commands (Windows) or dims keys that are already assigned to other commands (Mac OS).

7 For Color, choose a color for the button and click OK.

8 Choose Button Mode from the palette menu to select it.

To manage command sets:

Deselect button mode, and then choose any of the following commands from the Commands palette menu:

Play Command Executes the command for the selected button. Select the button you want to play, and click Play Command. You can also execute a command by clicking the Play Command button ( ) at the bottom of the Commands palette.

Add Command Adds a new button to the Commands palette. (See the previous procedure.) You can also add a command by clicking the Add Command button ( ) at the bottom of the Commands palette.

Delete Command Removes command buttons. Select the button you want to remove and click Delete. When Button mode is off, you can delete a command by selecting it and clicking the Delete Command button ( ) at the bottom of the Commands palette.

Command Options Modiﬁes command buttons. Select the button you want to change and select options (as explained in the previous procedure). When Button mode is off, you can change command options by double-clicking a command.

Load Commands Replaces the existing buttons with a set saved on disk.

Save Commands Preserves your commands in a ﬁle. This is useful for creating custom

command sets for different purposes, such as one for video capture.

Button Mode Turns Button mode on and off. Use Button mode when you want to use buttons in the Commands palette. Turn Button mode off when you want to manage buttons. Button mode is on when the check mark by it is displayed.

Using the History palette

Use the History palette to jump to any state of the project created during the current working session. Each time you apply a change to some part of the project, the new state of that project is added to the palette.

For example, if you add a clip to the Timeline window, apply an effect to it, copy it, and paste it in another track, each of those states is listed separately in the palette. You can select any of these states, and the project will revert to how it looked when the change was applied. You can then modify the project from that state.

The following guidelines can help you with the History palette:

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

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

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

the history palette.

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• When you close a Storyboard window, Title window, or Batch Capture window, states

created in those windows are removed from the History palette.

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

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

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

as well as an icon representing the tool or command. Some actions generate a state for each window affected by the action. These states are linked and act as a single state.

• Selecting a state dims those below it, to indicate which changes will be removed if you

work from the project at that state.

• Selecting a state and then changing the project removes all states that came after the

one you selected.

To display the History palette:

Choose Window > Show History.

To display a state of the project:

Click the name of the state in the History palette.

To move around in the History palette, do any of the following:

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

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

To delete one project state, select the state and do one of the following:

• Choose Delete in the History palette menu.

• Click the Delete button ( ) and then click Yes.

• Alt-click (Windows) or Option-click (Mac OS) the Delete button ( ) to avoid the delete

warning message.

To clear all states from the History palette:

Choose Clear History in the History palette menu.

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Capturing and Importing Source Clips

Obtaining source material for your project

You can import clips from any source—videotapes, motion-picture ﬁlm, audio, still images—as long as they exist as digital ﬁles stored on disk. Source material exists in two main forms:

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

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

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

store and process it. Some examples of analog media are motion-picture ﬁlm, conventional audio tape, and slides. Premiere, in conjunction with a capture card, can digitize analog videotape such as Hi-8 and save it to disk as clips that you can then add to your project.

Although digital media equipment is becoming increasingly common, a great amount of video and audio continues to be recorded and stored using analog equipment. For this reason, you may need to capture analog video and audio as part of your workﬂow. You can digitize analog video directly into Premiere if you use digitizing hardware to connect an analog video player or camera to your computer. Video-digitizing hardware is built into some personal computers, but usually must be added to a system by installing a compatible hardware capture card. For a list of compatible cards, see the Adobe Premiere Web site (http://www.adobe.com/premiere).

Capture checklist

Connect the DV or analog camcorder or deck to your system. See “Connecting the analog video source” on page 35 or “Connecting the DV video source” on page 36.

Set up Premiere for capture. See “Digitizing analog video as DV” on page 36 or “Preparing for DV video capture” on page 41.

(DV only) If you will be using batch capture but you didn’t prestripe your tape with timecode, see “Recording or replacing timecode (DV only)” on page 37.

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Capture video using any of the following methods:

• To capture video manually, see “Using the Movie Capture window” on page 45.

• To capture video manually using device control, see “Capturing clips with device control” on page 46.

• To capture video automatically using device control, see “Batch-capturing video” on page 49.

• To capture individual frames to create animation, see “Capturing stop-motion animation” on page 55.

If the timecode on the video you captured isn’t accurate, see “Reading timecode from source video” on page 57.

Capture additional material using any of the following methods:

• To capture audio from an analog source, see “Capturing analog audio” on page 59.

• To import audio from an audio CD or other digital source, see “Importing digital audio” on page 60.

• To import still images, animation, or sequences, see “Importing clips” on page 64.

• To import a project, see “Importing another project” on page 68.

To use placeholders for missing ﬁles, see “Using ofﬂine ﬁles” on page 70.

To evaluate a clip, see “Analyzing clip properties and data rate” on page 69.

Understanding ofﬂine and online editing

Depending on the level of quality you require and the capabilities of your equipment, you can use Premiere for either online or ofﬂine editing when working with analog source material. The settings you specify for capture are dictated by whether you will edit the program ofﬂine or online.

Note: When you edit DV clips, all editing is online. DV compression makes standard DV manageable on many systems.

About online editing

Online editing is the practice of doing all editing (including the rough cut) on the same clips that will be used to product the ﬁnal cut. Previously, online editing had to be done on expensive high-end workstations designed to meet the picture quality and dataprocessing requirements of broadcast-quality video. Editors with high-end requirements who could not afford a suitable online system had to rent time at a production facility that owned one. As high-end personal computers have become more powerful, online editing has become practical for a wider range of productions such as broadcast television or motion-picture ﬁlm productions.

For online editing, you’ll capture clips once at the highest level of quality your computer and peripherals can handle.

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About ofﬂine editing

In ofﬂine editing, y ou edit video using low-quality clips and produce the ﬁnal version using high-quality clips on a high-end system. Ofﬂine editing was developed to save money by editing in a less expensive facility. Although ofﬂine editing can be as simple as writing down time points for scenes while watching them on a VCR, it is increasingly done using personal computers and Premiere.

Ofﬂine editing techniques can be useful even if your computer can handle editing at the quality of your ﬁnal cut. By batch-capturing video using low-quality settings, you can edit faster, using smaller ﬁles. When you digitize video for ofﬂine editing, you specify settings that emphasize editing speed over picture quality. In most cases you need only enough quality to identify the correct beginning and ending frames for each scene. When you’re ready to create the ﬁnal cut, you can redigitize the video at the ﬁnal-quality settings. See “Digitizing analog video as DV” on page 36 and “Creating a batch list to redigitize project clips” on page 54.

Once you have completed the ofﬂine edit in Premiere, you can create a table of scene sequences called an edit decision list, or EDL. You then move the EDL to an edit controller on a high-end system, which applies the sequence worked out in Premiere to the original high-quality clips. In this way, the editing work done on the less expensive workstation is used to create the ﬁnal cut on the more expensive, higher-quality workstation.

If you will be generating an EDL from your edits, be sure that all clips are captured with frame-accurate timecode corresponding exactly to the timecode of the high-quality source video that you will use for the ﬁnal online edit. If you plan to edit off line using VHS dubs (copies) of the source clips, be sure that in each dub you burn in the timecode—that is, make the timecode visible in a window in the picture. These steps ensure that the EDL you generate is usable when transferred to the online system or edit bay and that your edits will be frame-accurate. See “Reading timecode from source video” on page 57.

Connecting the analog video source

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

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

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Connecting the DV video source

To capture DV video, your computer must be able to connect to a DV device using IEEE 1394 (FireWire/i.Link). For detailed instructions on connecting your device, see your device documentation. Premiere’s built-in DV support relies on DV support in the operating system. To provide DV support through their operating systems, Microsoft and Apple require IEEE 1394 interfaces that are compliant with the OHCI speciﬁcation. Many computers include OHCI-compliant IEEE 1394 ports on the computer, and almost all current IEEE 1394 cards are OHCI-compliant. IEEE 1394 interfaces that are not supported by the operating system require their own presets, driver software, and Premiere plug-ins for use from within Premiere. If your computer does not have a built-in IEEE 1394 interface, you can purchase a hardware capture card that provides the interface. Check with your computer’s documentation for more information.

The ﬁrst step in capturing DV video is to connect the camcorder or deck to the IEEE 1394 port or card in your system. Plug an IEEE 1394 connector into the DV In/Out port on the camcorder or deck and plug the other end into the IEEE 1394 port on the system’s panel or on the card installed in the system.

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

Some DV camcorders require a connection to their power adapter to activate the IEEE 1394 port. Other camcorders may go into sleep mode or demo mode if left in the camera mode without tape activity for a period of time. To avoid these problems, connect your camcorder to its power adapter when setting it up for capturing or dubbing video. If the camcorder goes into demo mode with the power adapter connected, turn off this feature using the camcorder’s menu system.

Digitizing analog video as DV

If you will be adding analog video to a DV project, you can avoid compatibility problems by digitizing the analog video as if it were DV. There are several ways to do this:

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

and then capture from the DV copy.

• If your camera supports E-E mode, in which the inputs are electronically connected to

the outputs, connect the analog video signal to the analog input port on the DV device and then connect the IEEE 1394 connector to the computer. Set the Input Select on the DV device to the analog input and enable E-E mode in the device’s menu. For more information, see the documentation for your camera.

• Use a media converter, such as Sony DVMC-DA1, to digitize the analog video to DV

format without using a camcorder.

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The methods just described (that digitize the analog signal and send it directly without ﬁrst recording it) offer the advantage of speed. If you want to use Premiere’s batch-capture feature with DV device control, you must dub the analog video to DV tape ﬁrst so that the DV timecode is recorded on the tape.

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

Recording or replacing timecode (DV only)

In certain circumstances, it is important that the timecode on your tape be free of any gaps. For example, continuous timecode is essential if you will be using Premiere features such as batch capture or the project trimmer, which depend on consistent In points, Out points, and durations. DV cameras are designed to create a continuous timecode track, even if you stop recording and start again. Discontinuities in timecode can occur, however, if you remove the tape from the camera, reinsert it, and resume recording, or if you rewind the tape and begin recording again at the beginning.

You can address the issue of continuous timecode either before or after you shoot, but regardless of which remedy you choose, you must perform it before you capture video from the tape.

Recording continuous timecode as you shoot

If valid timecode is present on the tape at the frame just before where you will begin recording, subsequent recording will pick up and continue that timecode. To ensure you always shoot continuous timecode, practice the following procedures while shooting:

• Before you eject, fast forward, rewind, or play a tape, record 5 seconds of scratch video.

• When you resume recording, cue the end of the tape up to about 1 second into the

scratch video.

• Observe the timecode being recorded to verify that you have not created a timecode

discontinuity. If the timecode restarted at 00:00:00:00, stop recording, rewind into the scratch video again, and then continue recording.

Recording timecode before shooting

You can also ensure that a tape will have continuous timecode by recording timecode onto the tape before using it. This process is called striping the tape. When you stripe a tape, you must be careful not to change the camera’s settings before recording; otherwise, you can record discontinuities onto the tape. For example, if you stripe a tape with the camera set to record in 12-bit/32-kHz audio, and then just before you shoot the video you change the camera’s audio setting to record at 48 kHz, you may record a sample rate discontinuity onto the tape. Such discontinuities do not capture well and can only be ﬁxed by dubbing the tape with analog connections.

To record timecode onto a tape before shooting:

1 Load a tape into your DV camcorder or deck, and make sure that it is fully rewound.

2 If you are using a camcorder, completely cover the lens using a lens cap or opaque

material.

3 Begin recording. Let the camcorder or deck run until the entire tape has been recorded.

4 Make sure that your camera’s settings remain the same for striping and for shooting.

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Replacing timecode

If your tape does not contain continuous timecode, you can create a copy, or dub, of the tape and record new timecode onto it. To record new continuous timecode onto the tape, copy the tape without the original timecode. You can then capture video (and the new timecode) from the copy.

To replace the timecode on a tape:

1 Load the tape you have shot into a DV camcorder or deck, and make sure that it is

fully rewound.

2 Set the camcorder to VTR mode.

3 Load a new tape into a second camcorder or deck, which you will use to record

the copy.

4 If the second device includes an option to record video with the timecode from your original tape, be sure that this option is disabled. See the operating instructions for the device for information on this option.

5 Connect the two devices using an IEEE 1394 cable.

6 Begin recording the new tape and then start your original tape playing. Let the

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

File-size limitations

Premiere’s Timeline window can contain up to three hours of video; however, the actual ﬁle-size limitation is not determined by Premiere, but by your capture card, operating system, and hard disk. Premiere considers a large ﬁle as anything larger than 2 GB. Check your capture card and hard disk documentation for information on large ﬁle support.

Note: Large analog ﬁle capture is not supported in Premiere.

Using large ﬁles in Mac OS

To capture, export, import, render, preview, or print to video large ﬁles (greater than 2 GB) in Premiere, you need the following:

• Mac OS 9.0.4, 9.2.2, and 10.1.3 or later

• Quicktime 5.0.2 or greater

• Mac OS Extended volume format (HFS+)

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Using large ﬁles in Windows

Large (greater than 2 GB) ﬁle support for Premiere for Windows varies because of the numerous Windows operating systems and disk formats. When using large ﬁles, keep the following in mind:

• To use large ﬁles in Premiere for Windows, you need either a FAT 32 or an NTFS-

formatted hard disk. If you’re using QuickTime-based hardware for capturing, you’ll also need QuickTime 5.0.2 or later.

• To capture large DV ﬁles, you need Windows 98 Second Edition, Windows 2000,

Windows Millennium Edition, or Windows XP.

• To export a large ﬁle to DV tape, you need Windows 98 Second Edition, Windows 2000,

Windows Millennium Edition, or Windows XP.

• To import, render, preview, print to video, export movie, or export to analog tape a large

ﬁle, you need Windows 98 Second Edition, Windows 2000, Windows Millennium Edition, or Windows XP.

Preparing for analog capture

Premiere is sold with many video-capture cards, which usually include non-Premiere software written by the card manufacturer to control the speciﬁc card. Most video-capture card software is written so that its controls appear within Premiere for your convenience, even though much of the actual video processing happens in the card, outside of Premiere. This complex relationship between video-capture cards and Premiere can make it difﬁcult to identify which part of the system is responsible for a particular option or problem. Adobe, as well as most capture card manufacturers, provides troubleshooting documents online that can help you determine if an option or problem you are working on belongs to or is caused by the video-capture card and its software, or Premiere. These online documents can also help you resolve technical issues you may encounter while using your capture card and Premiere. See the Adobe Premiere Web site (http:// www.adobe.com/premiere) for links to troubleshooting resources. If the issue is traced to the video-capture card, see the documentation provided by the manufacturer or the manufacturer’s Web site.

Most of the supported capture cards provide a settings ﬁle (preset) that you can select in Premiere’s Load Project Settings dialog box. This preset automatically sets all capture settings for optimal support with your capture card. If your capture card provides a preset, Adobe recommends that you select it for projects in which you will capture clips or import captured clips, and that you do not change the capture settings in the Settings dialog box.

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Most of the settings that control how a clip is captured from a camera or a deck are found in the Capture Settings section of the Project Settings dialog box. Settings vary depending on the selection for Capture Format. Available capture formats vary depending on the type of video-capture card installed. Premiere also provides some capture-related settings in the Scratch Disks and Device Control section of the Preferences dialog box. Open the Capture Settings or Preferences dialog boxes by clicking the appropriate Edit button in the Settings section of the Movie Capture window. (You may need to select Expand Window from the Movie Capture window menu to display the settings.)

Settings vary depending on the selected capture format. Capture Settings for Video for Windows capture are shown. Available capture formats vary depending on the type of video-capture card installed.

To prepare for capturing analog video:

1 Specify the scratch disk for captured movies. See “Setting up Premiere’s scratch disks”

on page 20.

Note: The length of a captured clip may be limited by the ﬁle-size limits of your operating system. For more information, see “File-size limitations” on page 38.

2 Set up the video source. For QuickTime for Mac OS, choose Project > Project Settings > Capture, click Video, choose Source, and choose a video source from the Digitizer menu. For an editing mode provided with a video-capture card, see the documentation included with the video-capture card.

3 Carefully check other settings in the Capture panel (summarized below). As noted in the following list, some capture settings are speciﬁc to a particular capture format.

Capture Format Select the ﬁle format for your video program. Changing the Capture Format changes the options available in the Capture Settings dialog box as well as in the dialog boxes that appear when you click the Video, Audio, and Advanced buttons.

Capture Video Select to enable video capture.

Size (QuickTime) Type the width and height of the digitized frame in pixels, and select

Constrain to restrict the aspect ratio to 4:3. For Video for Windows capture, click Video to specify frame size.

Rate (Video for Windows) If available, choose a frame rate for digitizing video. For NTSC, choose 29.97 fps; for PAL and SECAM, choose 25 fps.

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Video, Audio, Advanced, VFW Settings If available, click to set options provided by

software that came with your video-capture hardware, usually including compression settings. Understanding these card-speciﬁc options is critical for successful capturing; see the documentation for your capture hardware.

Capture Audio Select to enable audio capture. For QuickTime capture, or if these options are not available, click Audio to specify audio settings. For Video for Windows capture, specify settings for Rate (the sample rate for digitizing audio used by your capture device), Format (the bit depth of digitized audio used by your capture device), and Type (the compression method for digitized audio). If you chose an Editing Mode other than QuickTime or Video for Windows, and Capture Audio settings are not available, they may be set by the software that came with your audio-capture hardware; click Audio or Advanced to specify audio settings. See “Capturing analog audio” on page 59 and the documentation for your capture hardware.

Report Dropped Frames Select if you want Premiere to display a Get Properties window at the end of capture warning you that one or more frames were dropped.

Abort on Dropped Frames Select if you want Premiere to stop capturing automatically when at least one frame is lost as a clip is being digitized.

Capture Limit Select and type a time span (in seconds) to limit how much video you will allow Premiere to capture in a single capture session. See “File-size limitations” on page 38.

Preroll Time When capturing with device control, specify how far before the In point Premiere winds the tape before capture. The appropriate value varies depending on the kind of deck or camera you are using; see the documentation for your deck or camera.

Timecode Offset When capturing with device control, type the number of quarter frames to adjust the timecode stamped on the captured video so that it corresponds to the correct frame on the original tape. See “Reading timecode from source video” on page 57.

Log Using Reel Name When capturing with device control, select to use the reel name you speciﬁed in the Batch Capture list. For information about batch capturing, see “Specifying batch-list settings” on page 53.

To help determine the effect of your compression settings on the data rate of the

captured video, use Premiere’s Data Rate graph, as explained in “Analyzing clip properties and data rate” on page 69.

Preparing for DV video capture

Capturing DV video differs from capturing analog video in several ways. Because the DV image is converted directly to digital format in the camcorder, it is ready to be stored on a hard disk and doesn’t need to be digitized in the computer. Therefore, DV input doesn’t need to be captured in the sense that analog video does; it merely needs to be transferred to your computer. To transfer DV in Windows or Mac OS, you need a capture card or computer with an OHCI-compliant interface.

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Your computer also needs a DV codec, which is provided in software as part of the operating system, or as a hardware chip on some capture cards. Premiere includes support for DV codecs and can read digital source video without further conversion. You can help prevent dropped frames by using a hard disk capable of sustaining the 3.6-MBper-second data rate of digital video.

A critical difference between analog capture and digital capture is how you set up Premiere before you begin. Before capturing DV, create a new project, and in the Load Project Settings dialog box, be sure to choose the appropriate DV preset.

Note: If the video you are capturing was shot in 16:9 format using an anamorphic lens, be sure to choose a Widescreen (cinema) DV preset. You’ll also need to set the pixel aspect ratio for each individual clip after importing. If you don’t, Premiere will treat the video as if it were in 4:3 format, resulting in distortion of the aspect ratio.

To prepare for capturing DV video:

1 Connect the DV device (camcorder or deck) to your computer using an IEEE 1394

connection. The connection point on your DV device may be marked DV IN/OUT or IEEE 1394.

2 Turn the DV camcorder on and set it to VTR mode (not Camera mode). Setting your camcorder to Camera mode or turning it off may interrupt audio and video routing.

3 Start Premiere. When the Load Project Settings dialog box appears, select the desired DV preset from the Available Project Settings list. Select your preset based on the standard format (NTSC or PAL) and the audio rate (32 kHz or 48 kHz) used when you shot your video footage. If you are not sure, check your DV camcorder documentation. DV audio is usually 16-bit Stereo. Click OK.

Note: When you set up your project using a default DV preset or the preset supplied by your camera or DV capture card, do not change presets or any settings in the Capture panel of the Project Settings dialog box. All settings are determined by the preset.

4 After the project opens, choose Project > Project Settings > General. Click Playback Settings. When you select a DV preset, the Editing Mode automatically is set to DV Playback (Windows) or QuickTime (Mac OS), both of which provide additional DV playback settings.

5 Select from the following settings and then click OK:

Playback on DV Camcorder/VCR (Windows only) Plays back all DV-compressed clips to

your video (NTSC/PAL) monitor or the LCD screen on your camcorder.

Playback on Desktop (Windows only) Plays back all DV-compressed clips in the Monitor window or Clip window on your desktop.

Output Device (Mac OS only) Select an option on which to play back all DV-compressed clips: to your video (NTSC/PAL) monitor, or to the Monitor window or Clip window on your desktop.

Output Mode (Mac OS only) Reﬂects your Output Device selection. If FireWire is set, you can choose between NTSC and PAL modes. The Frame Size and Frame Rate for the selected mode automatically appear below.

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Play Audio on Output Device Only (Mac OS only) Select to play audio through the

selected output device. If FireWire is selected, audio plays through the FireWire device; if Desktop is selected, audio plays out of the computer. If you don’t select this option, audio plays out of the computer. Scrubbed audio always plays out of the computer.

Note: Audio and video may not be synchronized if played back through different devices.

Sample Rate (Mac OS only) Select the sample rate used by your DV camera. If you chose the correct preset, this should already be set correctly. Most DV cameras use a sample rate of 32 kHz or 48 kHz; however 44.1 kHz is an available option for some cameras. If your camera uses 44.1 kHz, you can select that here. For best results, your playback format should match your project’s settings. See your DV camera’s documentation for supported audio settings.

Note: Always capture and edit using the same audio sample rates that your DV camera supports. Do not mix audio sample rates on the same tape, and avoid mixing them in the same project.

Play Also on Desktop When Playing to the Output Device (Mac OS only) Select this option to enable desktop overlay so that DV-compressed clips play to both the output device selected (if other than desktop) and the desktop. When this is not selected, Premiere displays only the ﬁrst frame of the video clip on the desktop. Leave this option unselected when recording back to DV. When it is unselected, this option saves CPU cycles by not simultaneously outputting to two devices.

Note: When this option is deselected, scrubbing playback still appears on both the desktop and the NTSC/PAL video monitor.

Render Scrub to Output Device Select this option to display rendered frames on the selected output device when you render-scrub the Timeline. To render-scrub, press Alt (Windows) or Option (Mac OS) as you drag the cursor through the time ruler in the Timeline.

High-Quality Playback and High-Quality Scrubbing (Mac OS only) Leave these deselected for faster playback or scrubbing and less impact on the CPU. These options are not selected by default to achieve better performance for all systems.

Deinterlace Desktop Playback (Mac OS only) Select this option if you want Premiere to deinterlace the video before displaying it in the Clip or Monitor window. Selecting this option makes the video appear less blurry when previewing at a larger size. This option has no effect on rendering or ﬁnal output to the DV device. Deselect this option if your Clip or Monitor window is full size and you want to see all of the video data in the window on your desktop.

Show Marker Comments (Mac OS only) Select this option to display marker comments in the Monitor window on the desktop. See “Using Timeline markers for comments” on page 90.

6 If your DV camera supports and records audio at 44.1 kHz, and your project is set to 44.1 kHz, select Audio Settings from the General Settings menu and then select 44100 Hz from the Rate menu.

7 Click OK to close the Project Settings dialog box.

8 Choose Edit > Preferences > Scratch Disks and Device Control. See the Adobe Premiere

Web site (http://www.adobe.com/premiere) for a list of supported devices.

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9 Select DV Device Control for Device and click Options. Select your camera model. If

your particular camera is not listed, see the Adobe Premiere Web site (http:// www.adobe.com/premiere) to see if a proﬁle for your camera has been recently added.

10 In the Device Control Options dialog box, check the Check Status option. If the status is Ofﬂine, Premiere does not see your device and you need to check all your connections and settings; if the status is Detected, Premiere sees your device but cannot control the tape (possibly there is no tape inserted); if the status is Online, Premiere sees your device and can control the tape.

11 Specify the scratch disk for captured movies. See “Setting up Premiere’s scratch disks” on page 20.

Note: The length of a captured clip may be limited by the ﬁle-size limits of your operating system; see “File-size limitations” on page 38.

Avoiding DV capture problems

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

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

Capture window; or close the Movie Capture window, turn the device off and back on, and then reopen the Movie Capture window. You can disable sleep mode on most cameras by plugging them into the wall outlet and ejecting the tape.

• If captured DV video looks grainy in the Movie Capture window, attach an NTSC or PAL

video monitor to the camera and view captured video on it. When capturing, Premiere displays DV video at low quality on the computer monitor to increase decompression speed. The video is actually captured and stored at full quality and always plays at full quality on an NTSC or PAL monitor.

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

control and capture settings. To access device control settings from the Movie Capture window, click Edit under Device Control, and then click Options in the Preferences dialog box. In the Device Control Options dialog box, make sure that the Check Status option is set to Online. If it is not set to Online, make sure that the options are set correctly, that your device is on and set correctly, and that your IEEE 1394 connections are secure. To ensure that Premiere can see the device, quit Premiere, leaving the device on, and then restart Premiere. Then open the Movie Capture window, click Play ( ), and click within the capture preview area.

• If the video image is offset in the Movie Capture window, try resizing the window to

redraw the image.

• If captured audio and video are not in sync, make sure that your audio settings match

the device settings and the settings you used to record onto the tape. Also, make sure that you did not record any blank sections of tape. Blank areas in a tape may cause interruptions in the camera time mode, so when you capture the blank area, the camera doesn’t transmit valid frames, but QuickTime or Video for Windows is still marking time. To ensure proper timecode recording, see “Recording or replacing timecode (DV only)” on page 37.

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Using the Movie Capture window

Use the Movie Capture window to capture DV and analog video and audio. This window includes a preview window, which displays your currently recording video, controls for recording with and without device control, a Settings panel for viewing and editing your current capture settings, and a logging panel for entering batch capture settings. You can log clips for batch capture only when using device control. You can set the preview area to the Fit in Window mode so that the video always ﬁlls the preview area.

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

A. Preview area B. Logging panel C. Settings panel D. Movie Capture window menu E. Controllers

B C D

The Movie Capture window menu displays options depending on the capture format you are using. For example, the QuickTime capture format includes the Video Input, Audio Input, and Advanced menu options, whereas the Video for Windows capture format does not. Use the Movie Capture window menu to customize the Movie Capture window in the following ways:

• To change the capture settings, choose Capture Settings, select your options in

the Capture Settings dialog box, and click OK.

• In Mac OS only, to change Video Input, Audio Input, or Advanced capture settings,

select the appropriate option, change your settings, and click OK.

• To remove the tabbed controls from the right side of the window, choose Collapse

Window.

• To display the tabbed controls, choose Expand Window.

• To change the size and aspect ratio of the image so that it ﬁlls the image area, choose

Fit Image in Window to select it. (Certain capture cards do not support playback at full size. When you use one of these cards, Fit Image in Window is not available.)

• To maintain the original size and aspect ratio of the image, choose Fit Image in Window

to deselect it.

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Capturing clips without device control

If you don’t have a controllable playback device, you can capture video from analog or DV camcorders or decks using the Movie Capture window. While watching the picture in the Movie Capture window, manually operate the deck and Premiere controls to record the frames you want. For example, you can use this method to capture video being played from an inexpensive consumer VCR or camcorder.

A B C

A. Take Video B. Take Audio C. Record

To capture a clip without a controllable device:

1 Make sure that the deck or camcorder is properly connected to your computer.

2 Choose File > Capture > Movie Capture.

3 Use the controls on the deck or camcorder to move the videotape to a point several

seconds before the point where you want to begin capturing. Be sure to leave enough time for the deck to reach the proper speed.

4 Press the Play button on the deck or camcorder, and then click Record in the Movie Capture window.

5 When you see the point where you want to stop recording, wait a few seconds to provide room for editing, and then click the mouse or press the Escape (Esc) key to stop recording.

6 When the Save File dialog box appears, specify a location and ﬁlename, and click Save. If you have a project open, the captured clip appears in the Project window.

Capturing clips with device control

Device control refers to control of the video deck or camera from within Premiere when capturing clips. You can use it to capture video from analog or digital video decks or cameras. Premiere includes built-in support for DV device control. With device control, you can do the following:

• Control the device and view its source video directly from Premiere instead of switching

between Premiere and the device controls.

• Use the Movie Capture or Batch Capture windows to create a list of In points

(starting timecode) and Out points (ending timecode) for each clip, and then record all clips in the list automatically.

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• Capture the timecode on the tape so that Premiere uses it during editing.

A B C D E F

J MK N O P Q R S

A. Previous Frame B. Next Frame C. Stop D. Play E. Play Slowly in Reverse F. Play Slowly G. preview area H. jog control I. shuttle control J. Take Video K. Take Audio L. Rewind M. Fast Forward N. Pause O. Record P. Set In Q. Set Out R. Timecode S. Capture In to Out

Use this checklist to prepare for capturing with device control:

• Make sure that you have the necessary equipment. You’ll need a frame-accurate tape

deck or camera that supports external device control, a cable that connects the deck to your computer, a Premiere-compatible plug-in software module that lets you control the device directly from Premiere, and source videotape recorded with timecode. Most DV devices meet this requirement using Premiere’s built-in DV device control.

• Set the general device control options for capturing as explained in the previous

section.

• Use the following procedures to conﬁgure Premiere to recognize the device, set

capturing options, and capture the video.

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

To specify the capturing device and its options:

1 Display the Scratch Disks and Device Control Preferences dialog box by doing one

of the following:

• Choose Edit > Preferences > Scratch Disks and Device Control.

• In the Movie Capture window, click the Settings tab and then click Edit under

Preferences.

2 In the Device Control section, select a device, such as DV Device Control, from the menu. Many devices come with a Premiere-compatible plug-in that displays the name of the device in this menu when the plug-in is installed correctly.

3 Click Options, select the appropriate options, and click OK.

Note: If your device plug-in includes a Device Model option, be sure to choose the complete model number of the camcorder or deck. This model number is the longer of several model numbers that may appear on the device, and can usually be found on the bottom of the camcorder or the back of the deck.

4 Click OK to close the Preferences dialog box.

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To capture a clip using device control:

1 Choose File > Capture > Movie Capture.

2 If Device Control has not been set up, click Enable Device Control and then see the

previous procedure, “To specify the capturing device and its options.”

3 Test the device control buttons to verify that they work and that you see video in the preview window.

4 Type the reel name from the tape in the Reel Name box. (You may be asked to specify the Reel Name each time you insert a new tape, depending on the device control software and the video deck or camera.)

5 Use the controls in the Movie Capture window to move to the place in the videotape where you want to start capturing the clip, and click the Set In button ( ).

6 Use the controls in the Movie Capture window to move to the place in the videotape where you want to stop capturing, and click the Set Out button ( ).

7 To move or play in relation to the In and Out points you have set, do either of the following:

• To move the tape to the In point, Alt-click (Windows) or Option-click (Mac OS) the Set

In button ( ).

• To move the tape to the Out point, Alt-click (Windows) or Option-click (Mac OS) the

Set Out button ( ).

8 Use the controls in the Capture window to do any of the following:

• Drag the jog control ( ) one pixel to the left or right to rewind or advance the tape

one frame.

• Drag the shuttle control ( ) to change the speed of the tape based on the distance

of the control from the center point. Depending on your device, you can move the tape from four to 15 speeds in each direction.

• Press the Previous Frame button ( ) to reverse the tape one frame. If the device is not

playing, Premiere starts it and rewinds one frame.

• Press the Next Frame button ( ) to move forward one frame. If the device is not playing,

Premiere starts it and moves the tape forward one frame.

• Press the Stop button ( ) to stop playing the tape.

• Press the Play ( ), Play Slowly ( ), or Play Slowly in Reverse ( ) buttons to play the

tape accordingly.

• Press the Rewind button ( ) to rewind the tape. If you rewind when the tape is stopped,

the device rewinds at full speed. If you rewind when the tape is playing or paused, the device rewinds as fast as it can while still displaying video in the Capture window. You can also press the J key on your keyboard to move the tape in reverse at double speed.

• Press the Fast Forward button ( ) to fast-forward the tape. If you fast-forward when the

tape is stopped, the device moves the tape forward at full speed. If you fast-forward when the tape is playing or paused, the device moves the tape forward as fast as it can while still displaying video in the Capture window. You can also press the L key on your keyboard to move the tape forward at double speed.

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9 To record the tape, do any of the following:

• Press the Record button ( ) to record a clip from the current input video stream.

• Alt-click (Windows) or Option-click (Mac OS) the Record button ( ), or click Capture In/

Out. Premiere automatically moves the tape to the Preroll speciﬁed before the In point, plays the tape, begins capturing at the In point, and stops capturing at the Out point. If you’ve typed a name in the Logging panel, the new clip will be given that name.

10 After Premiere completes the capture, the Save File dialog box appears. Specify a location and ﬁlename, and click Save. If you have a project open, the captured clip appears in the Project window.

Batch-capturing video

If you have the proper setup for device control and have a videotape recorded with timecode, you can set up Premiere for automatic, unattended capture of multiple clips from the same tape. This is called batch capturing. You log, or create a list of, the segments you want to capture from the tape in the Batch Capture window. The list (called a batch list or timecode log) can be created either by logging clips visually using device control or by typing In and Out points manually. When the batch list is ready, click one button to capture the clips in the list. You can batch-capture clips from analog or DV camcorders or decks.

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

A B

C D E

A. check-mark column B. Sort by In Point button C. Capture button D. Add New Item button E. Delete Selected button

The check-mark column at the far left of the Batch List window shows the status of a clip. If the column has no icon, the clip has not been captured and is not set to be captured. A diamond ( ) indicates that this clip will be captured when you click Capture ( ). Click in the column to turn the diamond on or off. A check mark ( ) indicates that this clip has been captured. An X ( ) indicates that an error occurred while capturing a clip.

When you click Capture ( ), Premiere scans the list of ﬁles and checks your hard disk for other ﬁles with the same name. If a duplicate exists, Premiere adds the duplicate icon ( ) next to the ﬁlename in the Batch Capture window. You can then choose to replace the existing ﬁles on disk with the new ﬁles you’re about to capture, or you can rename the ﬁles in your batch list.

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In the Batch List window, click Add ( ) to create a new batch list entry, or click Delete ( ) to remove a selected entry. Double-click a clip to edit its capture parameters, such as ﬁlename or reel name. You can sort batch list entries according to their timecode In points by clicking Sort ( ). When you begin capture, Premiere automatically resorts entries by reel name and timecode In points.

Logging clips to a batch list

Specify which scenes you want to use from the source tapes by logging scenes—typing the beginning and ending times—in a batch list. If you have set up device control in the Preferences dialog box to remotely control your camera or deck, you can create a batch list of clips automatically by using the clip-logging controls in Premiere, and then use Premiere to capture all the clips in the list automatically. You control tape playback from within Premiere and mark scenes as you see them. This is the easiest and most efﬁcient method.

There may be times when you plan to capture video using a deck controlled by Premiere, but you don’t have continuous access to the computer connected to that deck. This can happen because device-controllable decks are more expensive than decks without device control. For example, you may be using a device-controllable deck in an editing suite where you rent time, or many editors might have to share a device-controllable deck in a company or school. In these cases you can log clips manually, using equipment as simple as a home VCR, a copy of the source tape with burned-in (visible) timecode, and a sheet of paper. With this method, you log frame numbers by hand and later type the log manually into the Premiere batch list for use during the capture session with the device-controllable deck.

To add batch-list entries using device control:

1 Make sure that device control settings are correctly speciﬁed. See “Capturing clips with

device control” on page 46.

2 Choose File > Capture > Movie Capture.

3 Click the Logging tab, and type the reel name used for the video tape. (You may be

asked to specify the Reel Name each time you insert a new tape, depending on the device control software and the video deck.)

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4 Use the controls in the Movie Capture dialog box to move to the place in the videotape

where you want to start capturing the clip, and click Mark In ( ). Depending on the device, you cannot capture from the ﬁrst 4 to 10 seconds of a DV tape.

Note: When setting In and Out points in the Movie Capture window, you can use either the Mark In ( ) and Mark Out ( ) buttons in the controls below the image, or the Set In and Set Out buttons in the Logging section. See also the Premiere Quick Reference Card for keyboard shortcuts that can trim time from this process.

5 Use the controls in the Movie Capture dialog box to move to the place in the videotape where you want to stop capturing, and click Mark Out ( ).

6 Click Log In/Out. Then type a new ﬁlename if you don’t want to use the default name, type any comments you want to add, and click OK.

7 Repeat steps 4 through 6 for each clip that you want to capture from this reel.

8 Close the Movie Capture window.

9 If you have another tape that you want to capture, insert it, update the reel name in the

Batch Capture window, and repeat steps 2 through 8.

10 Make sure that the Batch Capture window is active and choose File > Save. If necessary, specify a location and a ﬁlename, and then click OK.

To add batch-list entries manually:

1 Open a new or existing batch list by doing one of the following:

• To create a new batch list, choose File > Capture > Batch Capture. Then choose File >

Save As. Specify a location, type a name, and click Save.

• To open an existing batch list, choose File > Open, select the batch list ﬁle, and

click Open.

2 Click Add New Item ( ), and specify the following options:

• For Reel Name, type the name of the reel, or tape, from which you are capturing the clip.

• For File Name, type a name for the video ﬁle that the capture will create.

• For Comment, type any other information you want to provide about the clip.

• For In Time, type the In point timecode for the clip. If you substitute periods for colons

or type numbers without punctuation, the display to the right of this option tells you how Premiere interprets the numbers you type as hours, minutes, seconds, and frames.

• For Out Time, type the Out point timecode for the clip.

• For Frame Rate, select the frame rate of the source timecode on the tape.

• For Format, select Drop Frame or Non Drop-Frame. This option is available only if you

selected 30 fps from the Frame Rate menu.

3 Click OK, and then choose File > Save.

4 Repeat steps 2 and 3 for each of the entries in your timecode log.

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Saving, exporting, and importing batch lists

You can save a batch list to disk. In addition, you can export and import a batch list as a text ﬁle. You can control the order of the columns in the text ﬁle. Saving a batch list and exporting it creates two very different ﬁles:

• Saving a batch list preserves each entry and its capture settings (described in the next

section) in a ﬁle format that only Premiere can read.

• Exporting a batch list creates a tab-delimited ASCII text ﬁle that lists each entry but does

not retain the capture settings. You may want to export a batch list as a text ﬁle to edit it in text-editing programs or in video-editing systems that can read text batch lists.

The Batch Capture window menu contains commands you can use to manage settings for a batch list.

To save a batch list:

1 Activate the Batch Capture window that you want to save and do one of the following:

• For a new ﬁle, choose File > Save As. Specify a location and ﬁlename, and click Save.

• For an existing ﬁle, choose File > Save.

To export a batch list as a timecode-log text ﬁle:

1 Activate the Batch Capture window that you want to export.

2 In the Batch Capture window menu, choose Import/Export Settings.

3 Drag columns to rearrange them if desired, and click OK.

4 In the Batch Capture window menu, choose Export to Text File. Specify a location and

ﬁlename, and click Save.

To import a batch-list timecode log:

1 Activate the Batch Capture window that is to be the destination for the list.

2 In the Batch Capture window menu, choose Import from Text File. Locate and select the

ﬁle, and click Open.

After you’ve logged a tape with comments, you can save the batch list to a disk and

store the disk with the videotape. This makes it easy to redigitize clips from that tape in the future.

Moving batch-list entries between lists:

1 Open two or more batch capture windows simultaneously by doing any of

the following:

• Choose File > Capture > Batch Capture to open a new Batch Capture window.

• Choose File > Open to open an existing batch-list text ﬁle.

2 Drag a ﬁle from one list to another.

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Specifying batch-list settings

By default, the settings Premiere uses to capture clips in a batch list are the settings used by the project that is open at the time you log the clips into the batch list. If you want to change the settings, use the Capture Settings (Windows) or Recording Settings, Video Input, Audio Input, or Advanced options (Mac OS) in the Batch Capture window menu. Changes you make using the Recording Settings option are applied to all of the clips in the list unless you attach a settings ﬁle to an individual clip. Using different settings for individual batch-list entries requires that you save different settings ﬁles. See “Saving and loading project settings” on page 16.

You can also specify handles (extra frames to be captured before the In point and after the Out point of each clip) and select a batch-list entry to view in the Movie Capture window for individual capture.

You can modify settings for batch-list entries in the following ways:

• To attach a settings ﬁle to an individual batch-list entry, select the entry and choose

Attach Settings from the Batch Capture window menu. Locate and select the settings ﬁle you want to use, and click Open.

• To r emove a settings ﬁle from an individual batch-list entry, select the entry and choose

Remove Settings from the Batch Capture window menu.

• To specify extra frames to be captured at the ends of each batch-list entry, choose

Handles from the Batch Capture window menu. Type the number of frames of additional video that you want to capture before the In point and after the Out point of the clip, and click OK.

Capturing video from a batch list

When you ﬁnish building the batch list, you are ready to capture the video. Unless you attach a speciﬁc capture settings ﬁle to one or more entries, Premiere captures the entries in a batch list using the settings for recording, compression, video input, and audio input that were speciﬁed when the clips were logged. See “Specifying batch-list settings” on page 53.

To begin capturing video:

In a Batch Capture window, do one of the following:

• To capture one or more clips directly from the Batch Capture window, ﬁrst make sure

that each clip you want to capture is marked with a diamond ( ) in the check-mark column at the far left of the Batch Capture window; if necessary, click the check-mark column for an entry to turn on the diamond icon, or click the column heading to turn all the entries on or off. Click the Capture button ( ).

• To capture a single batch-list entry in the Movie Capture window, select the entry,

choose Send In/Out to Movie Capture in the Batch Capture window menu, and click the Capture button ( ).

After the batch capture is complete, you can import the captured ﬁles into your project using the File > Import command.

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To cancel a batch capture:

While a clip is being captured, press the Escape (Esc) key, click the mouse, or press Command+period (Mac OS only).

Note: If you attempt to cancel a batch capture while the device is seeking or shuttling to the next timecode, the capture will not cancel and Premiere may return an error. Wait until the device is done seeking or shuttling and then cancel the batch capture.

Creating a batch list to redigitize project clips

You can redigitize the clips in an existing project using batch capture, and the clips can be logged automatically according to the In and Out points you used in the Timeline. This is helpful when you originally used low-resolution clips for faster editing and are ready to digitize the clips again at high resolution for the ﬁnal version. By recapturing only the essential segments from the original source reels, you keep ﬁle sizes to a minimum. The following procedure does not replace the clips in the current project, but creates a new project.

Note: If you know you will be redigitizing clips, be sure to capture the original clips with timecode using device control. This ensures that the clips will have reel names and valid timecode. Premiere cannot use a batch list to digitize clips if no timecode is speciﬁed in the batch list or if timecode is not available from the source videotape.

To prepare a batch list for automatic redigitizing:

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

2 Select Create Trimmed Batch List, and deselect Copy Trimmed Source Files.

3 For Keep _ Frame Handles, type the number of frames you want to capture before the

In point and after the Out point of each clip. Specify just enough frames to give you ﬂexibility in ﬁne-tuning edits.

4 Click Create Project.

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

clips, and then click Save.

6 When asked, specify the location and name of the batch-list ﬁle that you are creating, and then click Save.

7 Make sure that the deck and source videotape are set up properly for capture, and click Capture in the Batch Capture window that appears.

To redigitize project clips manually:

1 If the clips you want to recapture are already on your hard disk, close the project and

delete or move (Windows only) the clips.

2 Open the project, and when the Locate File dialog box opens, select Ofﬂine All (Windows) or All Ofﬂine (Mac OS).

3 If you have customized your project settings after starting the project, choose Project > Project Settings > General, click Save, and then name and save the project settings as a preset ﬁle.

4 Choose File > Capture > Batch Capture to open the Batch Capture window.

5 In the Project window, select all the clips you want to redigitize, and drag them to the

Batch Capture window. Repeat for each bin containing clips you want to redigitize.

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6 In the Batch Capture window, select all the clips, and then choose Attach Settings from

the Batch Capture window menu.

7 In the Open dialog box, locate the preset settings ﬁle used for the project (see step

3)and click Open. (By default, preset ﬁles are located in the Premiere 6.0\Settings folder.)

8 With the Batch Capture window active, choose File > Save; type a name for the batch list and click Save.

9 Close the project. (If you don’t close the project, recaptured clips will be imported into the project as new clips instead of replacement clips.)

10 Verify that the deck and source videotape are set up properly for capture, and then click the Capture button ( ) in the Batch Capture window.

11 In the Locate File dialog box that appears, either select an existing bin and click Open, or click New, type a ﬁlename, and click Save. This bin is used to collect your captured clips.

12 Premiere automatically begins capturing the batch list. To cancel the capture, press the Escape (Esc) key one or more times as necessary.

13 When the batch capture is complete, open the project.

14 In the Locate File dialog box, locate and select the newly captured clips from the

Captured Movies scratch disk (see “Setting up Premiere’s scratch disks” on page 20).

15 After all of the clips are open in the project, choose File > Save.

Capturing stop-motion animation

Use the Stop Motion feature to perform manual and time-lapse single-frame video captures from a connected camera or from a videotape in a deck or camcorder. For example, you can point a camera at an unﬁnished building and use the time-lapse feature to capture frames periodically as the building is completed. You can use the stop-motion feature with a camera to create clay animations or to capture a single frame and save it as a still image. In Premiere, stop motion does not require device control. You can capture stop-motion animation from analog or DV sources.

Any movie frame can be used as a visual guide for positioning during stop-motion

capturing. The procedure for setting up a background image is the same for the Stop Motion window as it is for the Title window; see “Importing a sample frame” on page 148.

When preparing for stop-motion animation, use the following tips for a more successful capture:

• Turn off the automatic adjustment features in your camera and adjust any settings

manually instead. Gradual ﬂuctuations caused by auto exposure or auto focus become sudden changes, which are very apparent in the ﬁnished video.

• Plug the camera into the AC power adapter and eject the tape to prevent the camera

from going into sleep mode partway through the animation.

• If possible, turn off the demo mode. Demo mode (not available on all cameras) turns

on after a period of time when no tape is inserted and the camera is in camera mode or idle mode.

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To capture stop-motion animation:

1 Choose File > Capture > Stop Motion.

2 In the Stop Motion window menu, choose Stop Motion > Capture Options (Windows)

or Stop Motion > Recording Settings (Mac OS).

3 Do one of the following depending on your platform:

• In Windows, choose a Capture Type based on whether you want to capture a single

frame (Still Image), control stop motion by clicking Capture in the Stop motion window (Manual Capture), or capture stop-motion frames at regular time intervals (Time Lapse).

• In Mac OS, select Manual Recording to control stop motion by clicking a button in the

Stop Motion window, or select Time Lapse to capture stop-motion frames at regular time intervals.

Note: Depending on the type of capture you choose, some of the settings described below will be unavailable.

4 Do one of the following, depending on your platform:

• In Windows, type the horizontal and vertical dimensions of the frames to capture in

the Size _ x _ box. Select Constrain to adjust the values to the aspect ratio used by your capture hardware.

• In Mac OS, select Record at Current Size to capture frames at the dimensions currently

displayed in the Stop Motion window, or select Record At and type the horizontal and vertical dimensions of the frames to capture, in pixels. Select 4:3 to maintain a 4:3 frame aspect ratio as you type the values for this option.

5 In Windows only, type a value for Final Movie Will Play Back _ fps to set the frame rate for the captured video.

6 If you selected Time Lapse, type a time value and select a time unit for Capture _ Frames per _ (Windows) or _ Frames per _ (Mac OS). In Windows only, you can also limit the number of frames captured by selecting Capture Limit and typing a number of frames.

7 For Minimum Disk Free Space _ K (Windows) or Stop When Disk Space Falls Below _ K (Mac OS), type a value that speciﬁes how low available disk space can fall before Premiere automatically halts stop-motion capture. The disk monitored for this value is the disk speciﬁed in the Captured Movies menu when you choose Preferences > Scratch Disk and Device Control.

8 In Windows only, click the buttons in the upper right corner of the dialog box (if available) to set options provided by software that came with your video-capture hardware. These same settings are accessible from the Capture Settings panel of the Project Settings dialog box (see “Digitizing analog video as DV” on page 36). You can also choose these options from the Stop Motion menu on the menu bar.

9 In Mac OS only, select Stabilize Image Jitters to minimize unstable video signals from some devices.

To create a still image, you can also capture video as usual and then choose File >

Export > Frame. For more information, see “Exporting a ﬁlmstrip ﬁle for editing in Adobe Photoshop” on page 226.

10 Click OK. Start your camera, tape deck, or other video source, and in the Stop Motion window click Start.

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11 Do one of the following:

• If you previously selected Manual Capture (Windows) or Manual Recording (Mac OS),

click Start to begin and then click Step every time you want to capture a new frame. You can also press a number on the keypad to capture the speciﬁed number of consecutive frames, or press Delete to remove the most recently captured frame.

• If you previously selected Time Lapse, click Start. Premiere captures frames at the

speciﬁed rate. Click Stop when you want to stop capturing.

• (Windows only) If you previously selected Still Image, wait until your video source

displays the frame you want, and click Capture.

12 Choose Save As, specify a location and name for the clip, and click OK.

To manage stop-motion animation (Mac OS only):

Do any of the following:

• To capture a series of consecutive frames during stop motion, choose Stop

Motion > Grab Frames. Specify the number of consecutive frames to capture, and then click OK.

• To delete frames from the end of a stop-motion sequence you captured, choose Stop

Motion > Truncate Movie. Drag the slider to ﬁnd the frame where truncating should begin. All frames after the frame you specify will be removed. Click Truncate.

• To show a ghost image of the previous frame while capturing, choose Stop

Motion > Show Previous. This command is useful for positioning the subject of the current frame against the contents of the previously captured frame. The ghost image does not become part of the captured ﬁle.

• To remove a background clip, choose Stop Motion > Remove Background Clip. This

command is active only if you added a background clip to help position the subject being captured. For information about adding a background clip, see “Importing a sample frame” on page 148.

Reading timecode from source video

On most home VCRs, the tape counter doesn’t keep track of speciﬁc frames—for example, tape counters on many VCRs reset to zero if you switch tapes or turn the VCR off and on. In contrast, high-end and professional video decks and cameras can record and read timecode to and from a videotape, marking speciﬁc frames so that it is possible to accurately locate, edit, and synchronize video frames and the audio track. When capturing video, you usually want to capture the timecode associated with each clip if the source video contains timecode. Timecode is essential if you plan to create an edit decision list and create the ﬁnal video program on a high-end online edit bay instead of in Premiere. Using SMPTE timecode ensures frame accuracy.

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When capturing video with timecode, keep in mind the following:

• The timecode of a source video is captured when you use device control. (Capturing

with device control requires timecode. See “Using the Movie Capture window” on page 45.)

With device control, you can use videotape timecode (left) to precisely edit a program in Premiere (right).

• Timecode is visible only in the tape counter on equipment that can recognize

timecode, unless the timecode has been burned-in, or recorded over the picture in a copy of the tape. Most home VCRs cannot read or write timecode.

• If you plan to capture an entire tape, only the In point of the movie needs to be

recognized during capture. Once the In point is recorded, a frame-accurate tape deck will capture all of the following frames accurately. The default Out point is beyond the length of your tape; thus, the entire tape can be captured without setting an Out point.

Note: Timecode capture with controllable devices depends on the precision of your tape deck. If your tape deck cannot read the timecode accurately, you may have to calibrate your system or manually assign the timecode to your movie by matching frames.

Manually setting timecode for a clip

On some videotape copies, the timecode appears not on the video track, but as a window dub or window burn superimposed on each video frame. This window dub lets you see the

timecode on a deck that doesn’t read invisible timecode. Window dub timecode is also called burned-in, or visual, timecode. Because a videotape with burned-in timecode usually doesn’t include invisible timecode, clips captured from that tape aren’t marked with timecode on your computer. However, you can manually set the timecode for each captured clip. Because this requires referring to the original videotape, this is best done immediately after capturing a clip.

To set timecode manually for a clip:

1 Do one of the following:

• Activate the Clip window containing the clip you want to set.

• Open the clip in the Source view.

• Activate the Project or Bin window containing the clip you want to set, and then

select the clip.

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2 Choose Clip > Advanced Options > Timecode, specify the following options, and

click OK:

• For the ﬁrst option, type the timecode that matches the frame visible in the clip.

• For Frame Rate and Format, choose options that match the videotape.

• For Set Timecode At, click File Beginning if you typed timecode for the ﬁrst frame in

the clip; otherwise, click Current Frame.

• For Reel Name / Description, type the name of the clip’s videotape.

Capturing analog audio

If you want to use audio that is not yet in digital form, you need to capture it. With the proper audio- or video-capture card, Premiere can capture audio that is synchronized with its source video or that is independent of it.

The quality of digitized audio and the size of the audio ﬁle depend on the sample rate (the number of samples per second) and bit depth (the number of bits per sample) of the digitized audio. Also, digitizing stereo audio requires twice as much disk space as mono audio. These parameters, controlled in the Capture Settings section of the Project Settings dialog box, determine how precisely the analog audio signal is represented in digital form. Higher sample rates and bit depths reproduce sound at higher levels of quality, but with correspondingly larger ﬁle sizes. If you plan to export or play back the ﬁnal cut from Premiere, capture audio at the highest quality settings your computer can handle, even if those settings are higher than the settings you’ll specify for ﬁnal export or playback. This provides headroom, or extra data, that will help preserve quality if you adjust audio gain or apply audio effects such as equalization or dynamic range compression/expansion; see “Applying and controlling effects” on page 183.

To set the location of a ﬁle captured from an audio-only source:

1 Choose Edit > Preferences > Scratch Disks and Device Control.

2 For Captured Movies in the Scratch Disks section, select a location and click OK.

To capture an audio source (Windows):

1 Choose File > Capture

> Audio Capture.

2 Locate and select the capture program you want to use, and click OK. If you have not purchased a separate audio-capture program, you can use the Windows Sound Recorder (Sndrec32.exe, located in the folder in which you installed Windows). Then click OK.

3 Use the audio capture program to record an audio ﬁle. See the documentation or online Help for the capture program. (Premiere remembers the program you chose for recording audio. The next time you choose Capture

> Audio Capture, Premiere automati-

cally starts the same audio program.)

Note: In Windows, audio input options are affected by the settings in the Multimedia Control Panel and in the capture program you use. For information, see the online Help for Windows and for the capture program.

To capture an audio source (Mac OS):

1 Choose File > Capture > Audio Capture.

2 Choose Audio Capture > Sound Input.

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3 Select a Source from the menu. The options available depend on the audio hardware

you are using. For example, a capture card’s software may add options to this dialog box.

4 For Sample Rate, select the number of samples per second. Compact-disc audio is stored at 44.1 Hz. For best results, choose the sample rate that corresponds to the rest of the audio in your project. For example, if your project contains primarily DV audio, choose 48 Hz.

5 For Format, do the following:

• Select a bit depth from the left menu. For voice and medium-quality music, 8-bit

sound is sufﬁcient; compact-disc audio is stored at 16 bits. Stereo audio requires twice as much disk space and processing as mono audio.

• Select the channel usage you want from the right menu.

6 For Speaker, select how you want the speakers to function while you record.

7 For Volume, drag the slider to amplify or attenuate the incoming audio signal.

8 If available, click Options, specify any options provided by your audio hardware,

and click OK.

9 Click OK to close the Sound Settings dialog box.

10 Click Record.

Note: If no audio is recorded or you can’t hear your source audio, try playing the audio through the computer speaker system without recording. If you still can’t hear it, the audio source may not be properly connected. Check hardware connections, settings in the Multimedia Control Panel (Windows) or the Sound or Monitors and Sound control panels (Mac OS), and the documentation that came with your computer and sound card.

Importing digital audio

Premiere can import digital audio clips stored as audio ﬁles or tracks in video ﬁles. Digital audio is stored as binary data readable by computers. Most digital audio is stored on computer hard disks, audio compact discs (CDs), or digital audio tape (DAT). If you have capture hardware that can read digital audio data directly, such as an IEEE 1394 (FireWire/ i.Link) connection, you can preserve the quality of your digital audio source. Using all digital connections, you can capture digital audio directly into Premiere from the Movie Capture window: make sure to turn off the Take Video option and set your audio source settings in the Movie Capture window menu.

Many computers in their standard conﬁguration import audio through analog input jacks; the digital audio is converted to analog when you use the audio equipment output jacks and converted back to digital when you capture. This additional digital-analog-digital conversion reduces audio quality somewhat.

Audio from individual audio CD tracks are written as individual Compact Disc Audio (CDA) format ﬁles. Premiere does not support the CDA format, so you must convert them to a supported format before importing them. Once the digital audio is in a format that Premiere can read, include it in your project using the Import command. See “Importing clips” on page 64.

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

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Using CD audio in Windows

You can play audio CD ﬁles from Windows, but before you can import them into Premiere, you need to convert them to a supported ﬁle format. You can convert CDA ﬁles using third-party conversion applications such as WaveStudio from Creative Labs Inc., Sound Forge from Sonic Foundry, or Audio Grabber from Audio Grabber.

Once you’ve converted the audio ﬁle to a WAV or AIFF ﬁle format, import it using the File > Import command.

Using CD audio in Mac OS

On Mac OS, you can import audio CD tracks as AIFF or WAV ﬁles with no loss of quality, using a converter built into QuickTime.

Note: Although the DV format can record two independent stereo audio pairs, you cannot capture the Stereo 2 pair in Windows, and you cannot capture two stereo pairs independently in Mac OS. Also, Premiere does not currently support creating 4-channel tapes.

To import an audio CD track (Mac OS only):

1 In Premiere, choose File > Open. Locate and select the audio CD, and click Open.

2 Select a track and click Options.

3 Click Play to verify that you’ve selected the correct track.

4 Specify the following options:

• For Rate, select the number of samples per second. Compact-disc quality is 44.1 kHz.

• For Size, select the bit depth of the audio. Compact-disc quality is 16 bit.

• For Use, select whether the track is imported as mono or stereo audio.

5 If you want to import only a portion of the entire track, do any combination of the following in the Audio Selection section and then click OK:

• For Start and End, type times relative to the track duration.

• Drag the beginning or ending sliders.

6 Specify a location and ﬁlename to store the converted track, and click OK.

Premiere projects containing audio with different sample rates require extra

rendering time. To avoid this, resample the audio in the minority of clips that use different sample rates and then replace them in the project. To resample an audio clip, import it into a separate project that is set to the desired sample rate, export it as a movie, and then import the new movie into your project.

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About D1, DV, and various pixel aspect ratios

Pixel aspect ratio speciﬁes the ratio of width to height of one pixel in an image. Frame aspect ratio describes the ratio of width to height in the frame dimensions of an image.

For example, DV NTSC has a pixel aspect ratio of 0.9 (or 0.9 width by 1.0 height). It also has a frame aspect ratio of 4:3 (or 4.0 width by 3.0 height).

416

A 4:3 frame aspect ratio (left), and a wider 16:9 frame aspect ratio (right)

Many video formats use the same 4:3 frame aspect ratio but use a different pixel aspect ratio. For example, some NTSC capture cards produce a 4:3 frame aspect ratio, with square pixels (1.0 pixel aspect ratio) and a resolution of 640 x 480. DV NTSC produces the same 4:3 frame aspect ratio, but uses rectangular pixels (0.9 pixel aspect ratio), and a resolution of 720 x 480. DV pixels, which are always rectangular, are vertically oriented in systems producing NTSC video and horizontally oriented in systems producing PAL video.

If you display rectangular pixels on a square-pixel monitor without alteration, images and motion appear distorted; for example, circles distort into ovals. However, when displayed on a broadcast monitor, the images will be correct.

AB C

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

When you import or capture DV video, the image looks slightly wider than it does on a D1 or DV system. (D1 PAL footage looks slightly narrower.) The opposite effect occurs when you capture or import anamorphic footage using D1/DV NTSC Widescreen or D1/DV PAL Widescreen. Widescreen video formats have a frame aspect ratio of 16:9.

If a ﬁle uses rectangular pixels, Premiere displays the pixel aspect ratio next to the ﬁle’s image thumbnail in the Project window. You can change the pixel aspect ratio interpretation for individual ﬁles in the Pixel Aspect Ratio dialog box. By ensuring that all footage ﬁles are interpreted correctly, you can combine footage with different ratios in the same project and generate output that plays correctly.

Premiere sets the pixel aspect ratio for a project according to the preset you choose when starting a project. You can change this setting before editing begins, but once you start editing, changing the pixel aspect ratio can cause problems.

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When you capture or import video with either the D1 resolution of 720 x 486, or the DV resolution of 720 x 480, Premiere automatically sets the pixel aspect ratio for that ﬁle to D1/DV NTSC (0.9). When you import footage with the D1 or DV resolution of 720 x 576, Premiere automatically sets the pixel aspect ratio for that ﬁle to D1/DV PAL (1.067). However, it is always a good idea to make sure all ﬁles are interpreted correctly by looking in the Project window or the Pixel Aspect Ratio dialog box.

Note: Be sure to reset the pixel aspect ratio to Square Pixels when you import a squarepixel ﬁle that happens to have a D1 or DV resolution—for example, an Adobe Photoshop image with a resolution of 720 x 480.

Setting pixel aspect ratio

It is important to set the pixel aspect ratio for a ﬁle at its original ratio, not the ratio of the ﬁnal output. You can set pixel aspect ratios for clips and projects with these approximate values:

Square Pixels Uses a 1.0 pixel aspect ratio. Use this setting if your video has a 640 x 480 or 648 x 486 frame size.

D1/DV NTSC Uses a 0.9 pixel aspect ratio. Use this setting if your video has a 720 x 480 or 720 x 486 frame size, and your desired result is a 4:3 frame aspect ratio.

D1/DV NTSC Widescreen Uses a 1.2 pixel aspect ratio. Use this setting if your video has a 720 x 480 or 720 x 486 frame size, and your desired result is a 16:9 frame aspect ratio.

D1/DV PAL Uses a 1.0666 pixel aspect ratio. Use this setting if your video has a 720 x 576 frame size, and your desired result is a 4:3 frame aspect ratio.

D1/DV PAL Widescreen Uses a 1.4222 pixel aspect ratio. Use this setting if your video has a 720 x 576 frame size, and your desired result is a 16:9 frame aspect ratio.

Anamorphic 2:1 Uses a 2.0 pixel aspect ratio. Use this setting if your video was shot using an anamorphic ﬁlm lens.

D4/D16 Standard Uses a 0.9481481 pixel aspect ratio. Use this setting if your video has a 1440 x 1024 or 2880 x 2048 frame size, and your desired result is a 4:3 frame aspect ratio.

D4/D16 Anamorphic 8:3 Uses a 1.8962962 pixel aspect ratio. Use this setting if your video has a 1440 x 1024 or 2880 x 2048 frame size, and your desired result is an 8:3 frame aspect ratio.

To set the pixel aspect ratio for imported ﬁles:

1 Select the ﬁle in the Project window.

2 Choose Clip > Advanced Options > Pixel Aspect Ratio.

3 Select a ratio from the Pixel Aspect Ratio menu and click OK.

If you are planning to export to the same pixel aspect ratio as your clips, you also need to set the pixel aspect ratio for the project.

To set the pixel aspect ratio for a project:

Do one of the following:

• Choose the appropriate project preset when starting your project.

• If a project is already open, choose Project > Project Settings > Video, and select a ratio

from the Pixel Aspect Ratio menu; then click OK.

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Using square-pixel footage for output to DV

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

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

1 Prepare square-pixel footage using one of the following methods:

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

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

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

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

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

2 Capture or import the ﬁle into Premiere.

3 If you cannot use the methods from step 1, do whichever of the following is necessary:

• If your square-pixel ﬁle was created and saved at an odd size or a smaller frame size than

that used by your project (for example, if you imported a 400 x 400 logo prepared in Illustrator or a scanned image intended to be superimposed onto the video), select it and choose Clip > Video Options > Maintain Aspect Ratio. The Maintain Aspect Ratio option prevents the image from being resized to ﬁt the frame and makes Premiere resample the image using the same nonsquare pixel aspect ratio as the project.

• If your square-pixel ﬁle was created and saved at a standard frame size (such as 640 x

480 or 720 x 540), Premiere will scale the image so that the pixel aspect ratio, frame aspect ratio, and frame size match the project. For best results, create ﬁles with a frame size in which one dimension matches that of the project and the other is greater than the project—so that Premiere downsamples rather than upsamples.

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

(such as 720 x 480), you’ll want to redesign your image using a different frame size (such as 720 x 540).

Importing clips

You can import clips into Premiere as a single clip, multiple clips, or an entire folder of clips directly into the Project window. If you want to examine a clip before importing it into the project, open the clip in a Clip window and then move the clip to the Project or Timeline window. Clips cannot exceed 4000 x 4000 pixels. If the software you use to create art does not let you specify pixels as a unit of measure, specifying points may be sufﬁcient. If the ﬁle does not include pixel aspect ratio information, Premiere uses the Interpretation Rules.txt ﬁle, which can be customized, to determine the pixel aspect ratio based on codecs, image sizes, and other parameters.

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By default, Premiere alters the size and aspect ratio of a video clip or still image to match that of the video frame you speciﬁed for your project. Premiere displays images with the correct frame aspect ratio in the Monitor and Trim windows. For more information on aspect ratios, see “About D1, DV, and various pixel aspect ratios” on page 62.

Premiere can import a number of video and audio formats.

Video formats: Type 2 AVI, MOV, and Open DML (Windows only)

Note: Type 1 AVI clips must be rendered before they can be previewed from your DV device. To render a Type 1 AVI clip, add it to the Timeline in a DV project, and build a preview ﬁle of that section of the Timeline.

Audio formats: AVI, MOV, AIFF, WAV (Windows only), the Macintosh Sound Format, (Mac OS only), and Sound Designer I & II (Mac OS only)

Still-image and sequence formats: AI and AI sequence, PSD and PSD sequence, GIF and animated GIF, Filmstrip, JPEG, PICT and PICT sequence, TGA and TGA sequence, TIFF and TIFF sequence, PCX (Windows only), FLC/FLI (Windows only), BMP and BMP sequence (Windows only), and PICS animations (Mac OS only)

File format support is provided by plug-in software modules. Over time, additional or updated ﬁle formats may be available from Adobe or other manufacturers, such as QuickTime.

To import one or more clips into the Project window:

Do one of the following:

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

click Open.

• To import multiple clips in Windows, choose File > Import > File. Hold down Control as

you select each ﬁle you want to import, or hold down Shift and select the ﬁrst and last ﬁles of a range you want to import. Click Open.

• To import multiple clips in Mac OS, choose File > Import > File. Hold down Shift as you

select each ﬁle you want to import. Click Open.

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

you want to import, and then click OK (Windows) or Select foldername (Mac OS).

To examine a clip before adding it to the project:

1 Choose File > Open.

2 Locate and select the ﬁle you want to examine, and then click Open. The clip appears in

the Monitor source view or in a Clip window.

3 Examine the clip. If you decide to add it to the project, position the pointer inside the clip display and drag it to the Project window or choose Clip > Add Clip to Project.

Note: To control the window in which a clip opens, choose Edit > Preferences > General and Still Image, select or deselect the Open Movies in Clip Window option, and click OK.

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Importing still images

You can import individual still images or convert a numbered sequence of still images into a single animation as you import (see “Importing an animation or still-image sequence” on page 67). When you import an individual still image, it uses the duration speciﬁed in the dialog box that appears when you choose Edit > Preferences > General and Still Image. You can change the duration of a still image after you import it.

To change the default duration for still images:

1 Choose Edit > Preferences > General and Still Image.

2 In the Still Image section, specify the number of frames you want as a default duration

for a still image.

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

To change the duration of a still image you have already imported:

Select the clip and choose Clip > Duration. Type the new duration and click OK.

By default, Premiere will alter the size and aspect ratio of a still image to match that of the frame size you speciﬁed for your project. You can specify that still images retain their original aspect ratio (see “Maintaining the original aspect ratio of a clip” on page 96). You can also scale an image to a size other than the size of the frame (see “Scaling a clip” on page 92).

If you’re planning to use many still images that use different aspect ratios from your project frame size, you can lock the aspect ratio of each still image before you import it.

To lock the aspect ratios of still images before you import them:

1 Choose Edit > Preferences > General and Still Image.

2 Select Lock Aspect to preserve the proportions of a still image in Premiere. When Lock

Aspect is deselected and you import a still image that has a different aspect ratio than the video frame in the project, Premiere resizes the image to ﬁt.

If you import a nonsquare-pixel ﬁle that was created and saved at an odd size or a

smaller frame size than used by your project (for example, 400 x 400), select it and choose Clip > Video Options > Maintain Aspect Ratio. Then, with the ﬁle still selected, choose Clip > Advanced Options > Pixel Aspect Ratio, choose Square Pixels from the Pixel Aspect Ratio menu, and click OK. Setting both of these options prevents Premiere from resizing the image to ﬁll the screen and from resampling the ﬁle to match the pixel aspect ratio of the project.

Importing Adobe Illustrator ﬁles

You can import an Adobe Illustrator still-image ﬁle directly into a Premiere project. Premiere converts path-based Illustrator art into the pixel-based image format used by Premiere, a process known as rasterization. Premiere automatically anti-aliases, or smooths, edges of the Illustrator art. Premiere also rasterizes all empty areas in an Illustrator ﬁle with an alpha channel premultiplied with white, which means that it can be transparent when you superimpose it over other clips, but you must apply the White Alpha Matte key type. See “Using keys to superimpose and create composites” on page 165 and “Using Black Alpha Matte and White Alpha Matte keys” on page 169.

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You can import Illustrator art up to 2000 x 2000 pixels. If you want to deﬁne the dimensions of the Illustrator art as it will be rasterized by Premiere, use the Illustrator program (sold separately) to set crop marks in the Illustrator ﬁle. For information about setting crop marks in Illustrator, see the product’s documentation.

To rasterize and import an Adobe Illustrator ﬁle:

Choose File > Import > File. Locate and select an Illustrator ﬁle, and click Open.

Importing Adobe Photoshop ﬁles

You can import ﬁles from Photoshop 3.0 or later. However, Premiere does not support 16-bit TIFF images created in Photoshop or other graphic applications. You can also import an individual layer from a multilayer Photoshop ﬁle. If the Photoshop ﬁle uses an alpha channel for transparency, Premiere preserves it. If you superimpose the Photoshop ﬁle over another track in Premiere, you can see through the transparent areas marked by the alpha channel. For information about alpha channels and superimposing, see “Using the Alpha Channel key” on page 168.

Note: If you have trouble importing a Photoshop ﬁle that uses a layer mask or multiple layers, ﬂatten (combine) the layers in the Photoshop ﬁle before importing it into Premiere; for information, see the product’s documentation.

Importing an animation or still-image sequence

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

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

When creating three-dimensional images or animations that you will be importing into Premiere, use the following guidelines whenever possible:

• Use broadcast-safe color ﬁltering.

• Use the pixel aspect ratio and frame size speciﬁed in the project preset that you will be

using in your Premiere project.

• Use the appropriate ﬁeld settings to match your project.

can generate a series of numbered sequence of still images, such as Adobe After

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To import numbered still-image ﬁles and compile them into a single clip:

1 Do one of the following:

• In Windows, make sure that each still-image ﬁlename has the correct ﬁle extension, and

make sure that all ﬁlenames in the sequence contain an equal number of digits at the end of the ﬁlename (before the ﬁlename extension)—for example, ﬁle000.bmp, ﬁle001.bmp, and so on.

• In Mac OS, make sure that all ﬁlenames in the sequence contain a sufﬁx of a period

followed by an equal number of digits—for example, File.000, File.001, and so on. You may insert a space between the period and the ﬁle number—for example, File. 000, File. 001, and so on.

2 Choose File > Import > File.

3 Locate and select the ﬁrst numbered ﬁle in the sequence, select Numbered Stills, and

click Open.

Importing another project

You can add the contents of an existing project to an open project. For example, you can break up a large project into smaller, more manageable pieces in separate projects, and then import each project into a main project to create the ﬁnal video program. When you import a project into an open project, the imported project’s clips are added to the Project window in a bin named after the imported project. You can import a project’s Timeline contents at the beginning, end, or edit line in the open project’s Timeline. All of the imported project’s special effects, such as transitions and effects, are included. If there are tracks in the imported project that do not match track names in the open project, they are added to the Timeline.

Premiere imports the project as an insert edit: Any clips on all tracks at or after the insertion point are moved later by an amount corresponding to the duration of the imported project. If you import a project at the edit line, it bisects any clips at the edit line. Before importing a project, you may want to examine both projects to anticipate any potential track conﬂicts, and save the destination project in case importing a project creates results you didn’t anticipate.

Note: You cannot import a Premiere 5.0 or earlier project directly into a Premiere 6.0 project because of differences in these versions. To import a Premiere 5.0 or earlier project, ﬁrst convert it to a Premiere 6.0 project by opening and saving it in Premiere 6.0 (see “Opening a project” on page 18). Make sure that both projects have the same timebase. Projects created in Premiere 5.1 or later can be imported directly into a Premiere 6.0 project.

To merge a project into a currently open project:

1 Make sure that the destination project is open.

2 Choose File > Import > Project.

3 Locate and select the project, and then click Open.

4 Click Beginning, Edit Line, or End to specify where in the Timeline you want the

imported project to appear, and then click OK.

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Analyzing clip properties and data rate

Premiere includes clip analysis tools that you can use to evaluate a ﬁle in any supported format stored inside or outside a project. For example, after producing a video clip to be streamed from a Web server, you can use clip analysis tools to determine if a clip you exported has an appropriate data rate for Internet distribution.

The Properties feature provides detailed information about any clip. For video ﬁles, analyzed properties can include the ﬁle size, number of video and audio tracks, duration, average frame, audio and data rates, and compression settings. You can also use Properties to alert you to the presence of any dropped frames in a clip you just captured.

To see the properties of a clip:

1 Do one of the following:

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

part of the window.

• If the clip is in the Project, Monitor, or Timeline window, select it, choose File > Get

Properties For, and select the ﬁlename of the clip.

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

select the clip you want to analyze, and then click Open.

2 To save the Properties window text as a text ﬁle, choose File > Save As, specify a location and ﬁlename, and click Save.

3 To see the Data Rate Graph, click Data Rate.

Use the data rate graph to evaluate how well the output data rate matches the requirements of your delivery medium. It charts each frame of a video ﬁle to show you the render keyframe rate, the difference between compression keyframes and differenced frames (frames that exist between keyframes), and data rate levels at each frame. The Data Rate Graph includes the following:

• Data rate: the white line represents the average data rate.

• Sample size: the red bars represent the sample size of each keyframed frame.

• Differenced frames sample size: the blue bars represent the sample size of the differ-

enced frames between compression keyframes.

4 When you are ﬁnished, close the Data Rate Graph window and the Properties window.

You can also view clip properties from a window containing a clip by right-clicking

a clip (Windows) or pressing Control as you click a clip (Mac OS) and choosing Get Properties.

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Using ofﬂine ﬁles

Premiere automatically creates an ofﬂine ﬁle, or placeholder, for any source ﬁle used in the project that it cannot locate when you open a project. You can also create an ofﬂine ﬁle at any time. For example, if you expect to use source video that has not yet been captured, you can create an ofﬂine ﬁle as a temporary substitute for the missing source video during editing. When the actual source video becomes available, you can quickly replace all instances of the ofﬂine ﬁle in a project with the actual source. See “Opening a project” on page 18.

To create an ofﬂine ﬁle:

1 Choose File > New > Ofﬂine File.

2 Type a ﬁlename. In general, use the ﬁlename of the actual source video that is missing.

3 For Duration, type the length for the ofﬂine ﬁle.

4 For Timecode, type the timecode value of the In point of the missing source video.

5 For Reel Name, type the name of the reel containing the missing source video.

6 Choose a time format from the Format menu that corresponds to the source video.

7 Choose a frame rate from the Speed menu.

8 Select either or both Has Video or Has Audio, according to the contents of the source

video. Then click OK.

To replace an ofﬂine ﬁle with a source video ﬁle:

1 In a Project or Bin window, select the ofﬂine ﬁle.

2 Choose Project > Replace Clips.

3 Locate and select the actual source video ﬁle, and click OK.

Note: If you cannot locate the ﬁle, press the Escape key to exit the dialog box and leave the project in its original state.

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Editing Video

Using the Monitor window

The Monitor window displays individual frames of clips and the video program. Using the Single-Track Editing workspace, the Monitor window resembles the monitors in a conventional edit bay with one monitor for the source, or source clip, and another for the program, or edited video in the Timeline. Controllers at the bottom of the Monitor window are like the edit controller in an edit bay. You can edit clips in either the Monitor window or the Timeline window. See “Editing a video program” on page 98. (A source clip is a clip outside the Timeline or in the Source view of the Monitor window; a program clip is a clip in the Timeline or Program view of the Monitor window.)

In Dual View, the source and program are displayed side by side. You can also choose other views for the Monitor window. If you want to see only the program view, you can select

Single View. F or precise control over trimming, you can switch the Monitor window to Trim mode, as explained in “Using the Trim view” on page 113.

If you prefer the window layout used by previous versions of Premiere, you can change the window layout accordingly.

Displaying a clip

Clips can display in either in the Source view (left side) of the Monitor window or in a Clip window. If you want to compare several clips, you can open a window for each.

To view a clip:

Do any of the following:

• To view a clip in the Source view, double-click the clip in a Project, Bin, or Timeline

window. Premiere displays the clip and adds its name to the Source menu below the Source view.

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• To see up to 35 clips you previously viewed since opening the current project, choose

the name of the clip from the Source menu below the Source view.

Selecting a clip to view from the Source menu

• To add multiple clips to the Source menu simultaneously, drag multiple clips or an

entire bin from a Project or Bin window into the Source view, or select multiple clips in a Project or Bin window and double-click them.

• To change the Source view time display, choose Monitor Window Options from the

Monitor window menu. In Source Options, choose a Count from the menu. The Count designates the format of the clip’s timecode display. Select Zero Based if you want to start the clip’s timecode at zero instead of using the timecode of the clip’s ﬁrst frame. Click OK.

• To open the currently visible Source view clip in its own window, press Alt (Windows)

or Option (Mac OS) as you double-click the clip in the Source view.

• To always open a clip in its own window, choose Edit > Preferences > General & Still

Image, select Open Movies in Clip Window, and click OK.

• To override the current window preference for opening clips (described in the previous

paragraph), press Alt (Windows) or Option (Mac OS) as you double-click a clip in the Project window. For example, if you set the preference to open clips in their own windows, pressing Alt/Option opens a clip in the Source view.

• To view a clip that isn’t already in a Project or Bin window, choose File > Open, locate

and select the clip, and click Open.

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Viewing safe zones

Television sets enlarge a video image and allow some portion of its outer edges to be cut off by the edge of the screen. This is known as overscan. T he amount of overscan is not consistent across television sets, so you should keep important parts of a video image, such as action or titles, within margins known as safe zones. You can view safe zones in the Monitor window’s Source view, Program view, or both.

To view safe zones in the Monitor window:

In the Monitor window menu, choose Safe Margins for Source Side or Safe Margins for Program Side. Choose either menu item again to remove the corresponding safe zones from the Monitor window.

To change the dimensions of the safe zones:

1 In the Monitor window menu, choose Monitor Window Options.

2 For Action-Safe Margin and Title-Safe Margin, type new values representing the

percentage of the full Program or Source view window not included in the safe zones. Click OK.

Using Monitor window controllers

The Monitor window contains similar controllers for the Source and Program views, which you use to view and ﬁnd frames in a clip or video program. Many of the controllers work like the tape transport controls on a video deck. They serve the following purposes:

• Use the Source controller (under the Source view) to play or view the frames of a source

clip and to specify the clip’s source In and Out points, which deﬁne the portion of the clip that will be added to the program. (The ﬁrst frame that will be added is the source In point, and the last frame that will be added is the source Out point.)

• Use the Program controller (under the Program view) to play or view the video program

in the Timeline and to specify a clip’s program In and Out points, which deﬁne where the clip’s In and Out points are on the Timeline.

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When you want to use a controller to navigate a clip or the program, ﬁrst make sure that the correct controller is active. When a controller is active, its timecode readout is green, and the view above it is outlined with the highlight color set for your computer. The number at the bottom right of each controller is the current time position for that view. The number preceded by a delta symbol ( ) at the bottom left of each controller is the time difference between the In point and the Out point of the currently displayed source clip or video program.

In the Monitor window, you can cycle through time display options by pressing

Control (Windows) or Command (Mac OS) as you click a timecode readout. The time display options cycle in the order they appear in the Count menu (available when you choose Window > Monitor Window Options when the Monitor window is active).

To customize the Monitor window view:

Do any of the following:

• To set the active view and controller, click the Source or Program view.

• To limit the view to the Program view, click the Single View button ( ) at the top of

the Monitor window. You can also choose Single View from the Monitor window menu.

• To return to the Source/Program view, click the Dual View button ( ) at the top of the

Monitor window.

To play the Source or Program view:

Do any of the following:

• To play, click the Play button ( ).

• To stop, click the Stop button ( ).

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

• To play from the current time to the Out point, Alt-click (Windows) or Option-click (Mac

OS) the Play In to Out button ( ).

• To play and loop, click the Loop button ( ).

• To play in reverse, press Ctrl+Alt and click the Play button (Windows) or press

Command+Option and click the Play button (Mac OS).

• To play faster, click the Play button. Repeatedly clicking the button increases speed

further.

• To play including preroll and postroll, press Alt (Windows) or Option (Mac OS) as you

click the Play button. Preroll starts playback from a time before the In point, and postroll stops playback at a time after the Out point. Set preroll and postroll values in the General/Still Image Preferences dialog box.

To view a different frame:

Do any of the following:

• Make sure that the view you want is active, and on the numeric keypad type the

new time. You do not need to type colons because Premiere converts the numbers automatically.

• To display the same frame in the Program view that is displayed in the Source view,

make sure that the Source view is active and that the current Timeline instance of the

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Source view clip is displayed (the name of the clip and its In point will be in the Select Source Clip menu below the Source view), and then press T.

• To display the same frame in the Source view that is displayed in the Program view,

make sure either the Program view or Timeline is active, and then press T. This will display the corresponding frame in the actual source clip, not its Timeline instance.

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

• To go forward ﬁve frames, press Shift as you click the Frame Forward button ( ).

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

• To go backward ﬁve frames, press Shift as you click the Frame Back button ( ).

• To go to the previous edit in a target audio or video track, click the Previous Edit button

() in the program controller. (An edit is where a program clip ends or begins in the video or audio tracks.)

• To go to the next edit in a target audio or video track, click the Next Edit button ( ) in

the program controller.

Note: In the Single-Track Editing mode, the Previous and Next buttons also stop at the cutpoint of each transition when the Video 1 track is expanded, and at audio cuts.

• To go to the ﬁrst frame of the video program, press the Up Arrow key.

• To go to the last frame of the video program, press the Down Arrow key.

For more information, see “Moving around in the Timeline” on page 81.

The Monitor window controllers also include a jog tread and a shuttle slider. The shuttle slider marks the position of a frame relative to the beginning and end of the clip (in the Source view) or Timeline (in the Program view). However, because the shuttle slider is a ﬁxed width, it is less precise when you are looking at long clips or programs. The jog tread is helpful in these cases, because you can navigate ﬁner increments of a clip or program than with the shuttle slider. The timecode readout updates in the Source view or Program view as you jog or shuttle.

To jog or shuttle through frames:

Do one of the following:

• Click in the shuttle slider area.

• Drag the shuttle slider.

• Drag the jog tread left or right, past the edge of the controller if necessary, until you

reach the frame you want. If you drag the cursor to the edge of the screen without reaching the end of the clip or program, you can continue from the same time position by starting another drag from the jog tread.

If you are trying to ﬁnd a frame and know its approximate location within a clip, start

by clicking in the shuttle slider area in the general location of the frame and then drag the jog tread to look carefully in that area.

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Selecting an editing workspace

The style of editing you use when working in Premiere depends on the task at hand, such as assembling a rough cut of a project or doing more precise editing. Premiere provides predeﬁned editing workspaces that you can quickly and easily set up for the style of editing you want to use. Four editing workspaces are available: A/B Editing, Single-Track Editing, Effects, and Audio.

A/B Editing mode is intended primarily for editors who wish to work by dragging clips from the Project window to the Timeline window. This mode resembles a conventional editing method called A/B roll editing, which uses two video tapes or rolls (A and B) and an effects switcher to provide transitions. Selecting A/B Editing sets up the following conditions:

• In the Monitor window, Single View is selected.

• Clips open in a separate clip window.

• In the Timeline window, the Video 1 track displays three subtracks: Video 1A, 1B, and

the transition track.

• All palettes are available, with the Effect Controls, Navigator, and Transitions palettes

active.

Single-Track Editing mode is intended for trimming and positioning clips by setting In and Out points in the Source view of the Monitor window, and inserting and overlaying the trimmed clips into the Timeline window. For basic video programs, such as a cuts-only (no transitions) rough cut, you may want to use Single-Track mode. All tools act on the three subtracks as a single track when they are combined in Single-Track Editing mode. Selecting Single-Track Editing sets up the following conditions:

• In the Monitor window, Dual View (Source/Program) is selected.

• Clips open in the Source view window.

• In the Timeline window, the video and transition tracks are combined.

Effects mode is intended for easy access to both audio and video effects. Selecting Effects sets up the following conditions:

• In the Monitor window, Single View is selected.

• Clips open in a separate clip window.

• The Info palette is grouped with the Effect Controls palette and the Transitions, Video,

and Audio palettes are separate and active.

Audio mode is intended for easy access to the tools necessary for editing audio tracks. Selecting Audio sets up conditions identical to the Effects mode, except the Audio Mixer window is open.

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Managing the window workspace

When you start Premiere for the ﬁrst time, or after deleting or renaming the Preferences ﬁle, you are prompted to select the editing workspace. You can also select a different editing workspace at almost any time while working on a project. You can also create custom window layouts by rearranging the windows and changing their settings.

You can save your favorite custom window layouts and apply them to any project. Saving a workspace preserves the locations of Project, Monitor, Timeline, and Audio Mixer windows. Other windows, such as the Clip window, are not saved. However, no window option settings are saved with workspaces.

Note: You should not switch between A/B Editing and Single-Track Editing modes, as it is possible in A/B mode to place clips in positions which are not allowed in SingleTrack mode.

To save a custom window workspace:

1 Arrange the Project, Monitor, Timeline, and Audio Mixer windows the way you want

them, including size, location, and settings.

2 Choose Window > Workspace > Save Workspace.

3 Type a name for the workspace, and click Save. The new workspace is added to the

Workspace menu.

To select or delete a custom workspace:

• To select a workspace, choose Window > Workspace and then choose the name of a

workspace.

• To delete a workspace, choose Window > Workspace > Delete Workspace, choose a

name, and click Delete.

Because new workspaces appear on the Window > Workspace submenu, you can also

add a workspace to the Commands palette. See “Using the Commands palette” on page 30.

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Using the Timeline window

The Timeline is a time-based view of your program where you can select, arrange, and modify the instances of the source clips you’ve used in the video program. The Timeline graphically shows the placement of each clip in time, its duration, and its relationship to the other clips in the program.

O P Q R S

EB C F

A. Work area markers B. Preview indicator area C. Work area bar D. Edit line marker E. Work area band F. Timeline window menu G. Selection tool H. Superimpose Track I. Toggle Track Ouput icon J. Video 1 tracks K. Audio track L. Track Header buttons M. Lock icon N.Time Zoom Level popup O. Track Options Dialog button P. Toggle Snap to Edges button Q. To ggle Edge Viewing button R. Toggle Shift Tracks Options button S. Toggle Sync Mode button

Customizing the Timeline window

You can customize the Timeline display, including how it represents clips when you view or edit them in the Timeline. For information on customizing the Timeline’s tracks, see “Customizing track views” on page 79.

To customize the Timeline window:

1 In the Timeline window menu, choose Timeline Window Options.

2 In the Icon Size section, select the size of the preview icon you want in the Timeline.

If you expect to use many tracks or work on a small monitor, choosing a small icon size will make it possible to display more tracks.

3 In the Track Format section, select an option:

• The ﬁrst option displays sample frames along the duration of a clip. This option makes it

easier to ﬁnd a frame, but slows display and does not include the ﬁlename.

• The second option displays the clip’s poster and ending frames as well as the ﬁlename.

• The third option displays the poster frame and the ﬁlename.

• The fourth option displays the ﬁlename only. This option displays the fastest.

4 In the Audio section, choose an option from the drop-down menu. This option indicates the time zoom level at which an audio waveform will be visible in the Timeline.

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5 In the Options section, specify the following options as necessary, and then click OK:

• From the Count menu, select the unit of time displayed in the Timeline.

• Specify a Zero Point if you want the starting timecode for the video program to be other

than 00:00:00:00. This option also sets the starting timecode when you export an EDL.

• For On Insert, select Shift Material in All Unlocked Tracks if you want all tracks to move

when you insert a clip into the Timeline, or select Shift Material Only in Target Tracks if you want only the target tracks to be affected when you insert a clip. To alternate between these two options, click the Toggle Shift Tracks Options button ( ) at the bottom of the Timeline window.

• Select Show Markers to display clip and Timeline markers. Deselect this option if the

Timeline contains many markers and if you want to view the Timeline with less clutter. See “Using markers” on page 88.

• Select Block Move Markers to move Timeline markers when you move unlocked tracks

by using the multitrack select tool or by performing an insert or ripple edit when Shift Material in All Unlocked Tracks is selected. Deselect this option if you want Timeline markers to remain in place. This option does not affect clip markers. Markers do not move for any tool except the multitrack tool.

In the Timeline, you can cycle through each time display option by pressing Ctrl

(Windows) or Command (Mac OS) as you click the time ruler. The time display options cycle in the order they appear in the Count menu in the Timeline Window Options dialog box, described earlier in this section.

Customizing track views

Depending upon the Workspace, the Video 1 track will display one of two ways. In A/B Editing mode, it displays as three subtracks: Video 1A, 1B, and the transition track. In Single-Track Editing mode, the three subtracks are combined. In this mode, the Video 1 track can display as either collapsed or uncollapsed. When it is collapsed, all clips and transitions are combined on one track. When it is uncollapsed, the view resembles that of the A/B Editing mode, except you cannot overlap the clips, and the separate tracks still behave as one track. You get only a visual representation of the overlap. The uncollapsed view is useful for obtaining a more accurate view of the transition overlaps. Choose between the collapsed and uncollapsed views by clicking the Track Mode button.

Track modes are activated automatically when you select a workspace for editing. See “Selecting an editing workspace” on page 76. The setting of the Track Mode button is saved in both the project ﬁle and in the Premiere preferences ﬁle.

In both editing modes, the Video 2 track, by default, is available for superimposing clips over the Video 1 tracks, and you can add more tracks for additional layers of superimposed video. Similarly, you can use Premiere’s multiple audio tracks to overlap sound. To add video and audio tracks, see “Adding, naming, and deleting tracks” on page 82.

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Adobe Premiere Help Editing Video

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You can put a video clip on any video track and an audio clip on any audio track. However, to use a transition, there must be a video clip on a Video 1 track. If you intend to superimpose a video track, it must be on any track other than Video 1. If your project uses more tracks than the Timeline can display, you can resize the Timeline window or scroll vertically to see the tracks that are out of view. You can also control the proportion of space taken by video and audio tracks, condense the vertical space of tracks by collapsing them, or hide tracks. Finally, you can prevent tracks from being included when you preview, play back, or export the video program.

To collapse or uncollapse the Video 1 track in Single-Track Editing mode:

• Click the Track Mode button ( ) to the right of the Video 1 track name.

Note: In Premiere 5.0, these modes were selected using the triangle in the track header, which in this version is used to display or hide keyframes and fade controls.

Track Mode button in Single-Track collapsed mode (left) and Single-Track uncollapsed mode (right).

To resize the track heading section of the Timeline window:

Position the pointer over the right edge of the track heading section so that the resize tool ( ) appears, and then drag the right edge.

The track heading section: being moved by the resize tool (left) and after the move (right)

The editing tools in the upper left corner limit the minimum width of the track header.

To change the proportion of video and audio tracks displayed in the Timeline:

Drag the split-window bar, located at the right side of the Timeline between the Video 1 and Audio 1 tracks. This feature works best when there are many video or audio tracks in a large Timeline window.

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Hiding and excluding tracks

You can mark any track as shy, which means it can be hidden in the Timeline. Marking a track as shy does not immediately conceal it in the Timeline, because you must choose the Hide Shy Tracks command to conceal or reveal all shy tracks simultaneously. Shy and hidden tracks are included in the previews and exported program even when they are not visible in the Timeline. You can also exclude a track from a program. An excluded track still appears in the Timeline but is not included either in exported video or when previewing or scrubbing the Timeline.

Hiding and excluding tracks reduces timeline clutter and increases scrolling or previewing performance. Excluding a track also allows comparison between different versions of the program. Shy, excluded, and hidden tracks can still be edited as normal tracks. To make sure that hidden tracks are not edited, lock them before hiding them. See “Locking and unlocking tracks” on page 84.

To hide or reveal tracks in the Timeline:

1 Do one of the following:

• To mark a track as shy, press Ctrl (Windows) or Command (Mac OS) as you click the eye

icon ( )(for video) or speaker icon ( )(for audio) at the left edge of a track. The icon then appears as an outlined eye ( ) (for video) or outlined speaker ( ) (for audio).

• To mark a track as not shy, press Ctrl (Windows) or Command (Mac OS) as you click an

outlined eye icon ( ) (for video) or speaker icon ( ) (for audio).

• To mark as shy (or not shy) all superimposed video tracks or all audio tracks, press

Ctrl+Alt (Windows) or Command+Option (Mac OS) as you click to modify the eye or speaker icon at the left edge of any track except Video 1.

2 In the Timeline window menu, choose Hide Shy Tracks or Show Shy Tracks from the Timeline window menu.

To exclude or include a track in the program:

Click to hide or display the eye icon (for video) or speaker icon (for audio) at the left edge of a track.

To simultaneously exclude or include all tracks except Video 1 in the program:

Press Alt (Windows) or Option (Mac OS) as you click to hide or display the eye icon (for video) or speaker icon (for audio) at the left edge of any track. This excludes or includes all superimposed video tracks or audio tracks; you must include or exclude tracks Video 1A/ 1B separately.

Moving around in the Timeline

The time ruler at the top of the Timeline displays the current time position of the edit line and any markers that have been set in the Timeline (see “Using markers” on page 88). From the time ruler, you can view the location of the In and Out points of a clip and the duration of the entire video program. When you do anything that repositions the edit line, such as clicking the Frame Forward button, you change the current frame in the Monitor Program view.

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To position the edit line in the Timeline:

Do any of the following:

• In the Timeline, drag the edit line or click the ruler at the point where you want to

position the edit line.

• In the Monitor window, select the Program timecode, type a new number on your

keypad, and press Enter (Windows) or Return (Mac OS).

• In the Monitor window Program view, drag the jog tread or shuttle slider.

• In the Monitor window, click the Frame Back, Frame Forward, Next Edit, or Previous Edit

button in the Program controller. See “Using Monitor window controllers” on page 73.

• In the Navigator palette, press and hold Shift as you drag within the representation of

the Timeline, or click the timecode and type new timecode using the numeric keypad.

To display the Timeline in more detail:

Do one of the following:

• Select the zoom tool ( ) and then click (or drag a rectangle around) the part of the

Timeline you want to see in more detail.

• In the Navigator palette, drag the slider to the right, or click the Magnify icon ( ).

• Select a smaller time increment from the Time Zoom Level menu at the bottom of

the Timeline.

To display more of the program in the Timeline:

Do one of the following:

• Select the zoom tool ( ) and then press Alt (Windows) or Option (Mac OS) as you click

an area in the Timeline.

• In the Navigator palette, drag the slider to the left, or click the Reduce icon ( ).

• Select a larger time increment from the Time Zoom Level menu at the bottom of

the Timeline.

Adding, naming, and deleting tracks

The Timeline can contain up to 99 video and 99 audio tracks. You can add or remove tracks at any time, except for the Video 1, Video 2, Transition, Audio 1, Audio 2, and Audio 3 tracks, which cannot be deleted. New video tracks appear on top of existing video tracks, and new audio tracks appear below existing audio tracks. Deleting a track removes all clip instances on the track but does not affect source clips that you stored in the Project window. You can also change the name of any video or audio track. You cannot delete or rename the Transition track.

To add one track:

In the Timeline window menu, choose Add Video Track or Add Audio Track.

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To add, delete, or rename several tracks:

1 In the Timeline window menu, choose Track Options, or click the Track Options Dialog

button ( ) at the bottom of the Timeline window.

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

• To add tracks, click Add, type a value for Add _ Video Tracks and a value for Add _ Audio

Tracks as desired, and click OK.

• To delete tracks, select one or more tracks to delete, and click Delete.

• To rename a track, select a track, click Name, type a new name, and click OK. You cannot

rename the Video 1B track.

Specifying source and target tracks

When you add clips to the Timeline by dragging, the clip is added to the track and time position where you drop it. However, when you add clips to the Timeline using Monitor window controls or the keyboard, Premiere cannot know exactly how and where you want a clip to be added. In such a case, you must specify in advance the way a source clip’s video and audio are added to the Timeline. By default, both source audio and video are added; in the Timeline, the Video 1A and Audio 1 Timeline tracks are the default target (destination) video and audio tracks. In the Timeline, the names of the target video and audio tracks are highlighted.

You can control how source video and audio are added to the Timeline using the Take icons and Target menus:

• The Take Video ( ) and Take Audio ( ) icons in the Monitor window control whether

a particular source clip’s video or audio is added to the Timeline. For example, if one clip contains video that you don’t want to use, you can specify that the source clip will provide only audio to the Timeline.

• The video and audio Target menus control the video program in the Timeline. They

govern which Timeline video or audio track is set to receive the video or audio track from the source clip. It is possible to target no Timeline track for either video or audio. For example, if you build a rough cut of a music video and the only audio you want to use is a music clip separate from any of your video clips, you may want to target no audio tracks so that your program receives no audio from any source video clip. If you do this, no audio is added to the program regardless of how you set the Take icons for the source, and the same is true for targeting video tracks.

• Watch out for cases where the target tracks do not match the settings for the source

video and audio. For example, if you turn on Take Video but turn off Take Audio for the source clip, but Timeline tracks are targeted for both video and audio, the video goes to the target video track as expected, but the source clip audio duration is inserted in the target audio track as empty space. This is because targeting a track always adds the duration of the source clip even if the corresponding source track (audio or video) is not available to the target. If you don’t want the blank audio, specify no target audio tracks.

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The way that clips are added to the Timeline depends on not just the interaction of Take icons and target tracks but also the current states of other track and clip options. Certain combinations of these factors may cause unintended tracks to shift in time. For information on relinking clips that have moved out of sync, see “Linking video and audio clips in the Timeline” on page 112.

Note: The Take Video icon, Take Audio icon, and Target menus affect a clip only during the process of adding it to the Timeline. They don’t otherwise change the state of clips.

To set up Take Video and Take Audio icons and target program tracks:

Do any of the following to specify how video and audio tracks are added to the Timeline:

Note: A deselected Take Video or Take Audio icon has a red diagonal line across it.

• To include the source clip’s video, make sure that the Take Video icon ( ) below the

Source view is selected (if it is deselected, click the icon to select it). Then make sure that a Timeline video track is selected in the Target menu below the Program view; if necessary, choose a video track.

• To include the source clip’s audio, make sure that the Take Audio icon ( ) below the

Source view is selected (if it is deselected, click the icon to select it). Then make sure that a Timeline audio track is selected in the Target menu below the Program view; if necessary, choose an audio track.

• To include only source video, make sure that the Take Video icon ( ) below the Source

view is selected (if it is deselected, click the icon to select it). Choose a target video track from the ﬁrst (video) Target menu below the Program view, and then make sure that None is selected in the second (audio) Target menu.

• To include only source audio, make sure that the Take Audio icon ( ) below the Source

view is selected (if it is deselected, click the icon to select it). Make sure that None is selected in the ﬁrst (video) Target menu below the Program view, and then choose a target audio track from in the second (audio) Target menu.

You can also specify a target track by clicking the name of a track in the Timeline (it

then displays in boldface). Clicking a boldface name (the current target track) is the same as choosing None from a target track menu—the track is no longer the target, and its name is no longer in boldface.

Locking and unlocking tracks

Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the program. A locked track is included when you preview or export the program. If you lock the target track, it is no longer the target, so source clips cannot be added to it until you unlock it and then target it. A locked track is marked by a lock icon next to the track name. If you position the pointer or a tool over a locked track, the pointer appears with a lock icon ( ) to remind you that the track is locked. Locked tracks are dimmed in the Target menus below the Program view. If you want to lock both a video track and a track with corresponding audio, lock each track separately.

You can also lock a clip. This is useful when you don’t want to lock an entire track. See “Locking and unlocking clips” on page 96.

To lock or unlock a track:

Click to display or hide the lock icon ( ) next to the track name.

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Editing In and Out points

Most clips are captured with extra footage at the beginning and end to allow for more precise editing later. It’s common to ﬁne-tune the beginning and end of a clip just before moving a clip into the program. Deﬁne the beginning of the clip by marking an In point (the ﬁrst frame that will appear in the video program), and deﬁne the ending by marking an Out point (the last frame that will appear in the video program).

Marking and ﬁnding In and Out points

For numerical precision, set In and Out points using the Monitor Source or Program view. For visual precision, or if you prefer to use the mouse, edit directly in the Timeline using the edge trim tool. This interactive tool is useful for a rough cut, but it can also be as precise as specifying In and Out points numerically if you set the Timeline to display individual frames in the Time Ruler (see “Moving around in the Timeline” on page 81). The pointer automatically changes to the edge trim tool when you move the selection tool near the edge of a clip in the Timeline.

For linked clips, the video and audio portions can have their own set of In and Out points, called split points. Split points are used to create split edits, such as an L-cut, in which the audio extends into the next clip. You can mark split points only when the Source view contains a linked clip. If you bring a linked clip into the Source view from the Timeline, be sure that Sync mode is selected ﬁrst. For more information on Sync mode, see “Linking video and audio clips in the Timeline” on page 112.

To mark or remove In and Out points using the Source or Program view:

1 Do one of the following:

• To edit In and Out points for a source clip, open a clip from a Project or Bin window.

• To edit In and Out points of a clip already in the program, double-click a clip in the

Timeline. (If this is a linked clip and you want to mark split In and Out points, be sure that Sync mode is selected before you double-click the clip.)

2 In the Monitor window, click the view (Source or Program) in which you want to work with In and Out points.

3 Do any of the following:

• To mark an In point, go to the frame you want, and then click the Mark In button ( ).

• To mark an Out point, go to the frame you want, and then click the Mark Out button ( ).

• To clear an In point, press Alt (Windows) or Option (Mac OS) as you click the Mark

In button.

• To clear an Out point, press Alt (Windows) or Option (Mac OS) as you click the Mark

Out button.

• To clear both the In and Out points, press G.

• To make a split In or Out point, right-click (Windows) or Control-click (Mac OS) in the

Source view or Program view, and then choose Set Clip Marker and Video In, Video Out, Audio In, or Audio Out, depending on the split point you want.

• To edit a split In or Out point, press and hold Alt (Windows) or Option (Mac OS) and

drag the point in the Shuttle Controls.

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4 If you opened a clip from the Timeline, click Apply above the Source view to make your

changes take effect. (The Apply button doesn’t appear when you prepare a new clip for the Timeline, because your In and Out points are automatically applied when you add the clip to the Timeline.)

To edit clip In and Out points in the Timeline:

1 To see the edge frame change in the Program view as you drag, choose Edge View from

the Timeline window menu or click the Toggle Edge Viewing button ( ) at the bottom of the Timeline window.

2 Click the selection tool ( ) and do one of the following:

• To edit the In point, drag the left edge of the clip.

• To edit the Out point, drag the right edge of the clip.

A clip while the out point is being edited (left) and after the edit (right)

To ﬁnd a clip’s In or Out point:

1 Do one of the following:

• For a clip’s source In or Out point, open the clip and activate the Source or Clip window.

• For a clip’s program In or Out point, open the clip and activate the Program view.

2 Choose Clip > Go to Clip Marker > In, or Clip > Go to Clip Marker > Out.

Marking In and Out points for a duplicate clip

If you’re working with a duplicate clip that was trimmed (see “Using named duplicate clips and unnamed instances of clips” on page 87), you may want to set a new In or Out point beyond the In and Out point of the duplicate clip. You can do this by opening the duplicate clip’s master clip.

To mark In and Out points beyond the current start and end of a duplicate clip:

1 Double-click the duplicate clip’s master clip in the Project window to open it in

the Source view.

2 If you don’t want to trim the master clip, create a new duplicate clip. See “Using named duplicate clips and unnamed instances of clips” on page 87.

3 Set new In and Out points.

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Setting an audio source In point between timebase divisions

You can set the source In point of an audio clip to either the individual frames or the audio samples in a clip. For example, when editing a motion picture for ﬁlm, you might want an audio clip of a ﬁnger snap to start playing the instant that sound is heard, but you may ﬁnd that the motion-picture time display of 24 frames per second (initially set to match the timebase) is too coarse to start playing the audio when you want. You can use the Frames/ Samples time display option to set a source audio In point more precisely than one timebase unit, although the project timebase still determines where the source Out point can appear in the Timeline.

To set a source In point between timebase divisions:

1 Open the clip in the Source view or in a Clip window.

2 Choose Window > Window Options > Monitor Window Options or Window > Window

Options > Clip Window Options, depending on the window in which you opened the clip.

3 For Count, select Frames/Samples, and click OK. Now the playback controls will operate among individual frames or samples instead of using the project timebase.

4 Mark the In and Out points for the clip. See “Marking and ﬁnding In and Out points” on page 85.

5 If you want to set the count back to the previous setting, choose Window > Window Options > Monitor Window Options or Window > Window Options > Clip Window Options, select the original time display from the Count menu, and click OK.

Using named duplicate clips and unnamed instances of clips

You can use a clip multiple times in the Timeline. The original source clip is called a master clip, and each time you add the same master clip to the Timeline, you create a new instance

of that master clip. Premiere automatically keeps track of each instance of a clip by numbering them in the Project window, but it doesn’t list them. If you want a clip instance to be listed in the Project window, create a duplicate clip. A duplicate clip is useful when many or all of the scenes you want to use are in one long clip. Instead of capturing each scene separately and managing a number of different captured ﬁles, you can simply capture one long clip and create a named duplicate clip for each scene.

A master clip is a reference to an actual ﬁle on disk. An instance refers to the master clip in the project, so if you delete the master clip, its instances are also deleted. A duplicate clip is an independent copy of its master clip that refers directly to the source ﬁle on disk; if you delete the master clip, duplicate clips created from it remain in the project. Creating a duplicate clip doesn’t create any new ﬁles on disk. Other than the differences described here, working with instances and duplicate clips is the same as working with a master clip.

When you double-click an instance or a duplicate clip in the Timeline, it appears in the Source view and is added to the Source view menu, which identiﬁes each duplicate clip by name, and each instance by the timecode of its program In point (where the source In point appears in the program).

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To create a duplicate clip:

1 In the Project window, select the clip for which you want to create a named

duplicate clip.

2 To create a duplicate clip for just a portion of the master clip, double-click the clip to open it, and set the In point and Out points to deﬁne the frames you want to include in the duplicate clip. See “Editing In and Out points” on page 85.

3 Choose Edit > Duplicate Clip.

4 Name the duplicate clip and then choose a Location. If you have any Bin windows

open, they will also appear in the Location menu along with the Project window.

5 Click OK. Premiere stores the new reference to the master clip in the window you speciﬁed.

You can also create a duplicate clip by copying a clip in a Project or Bin window and

then pasting to any of those windows, or by dragging a clip from the Source view to the Project or Bin windows. If you choose to copy and paste the clip, you will not have a chance to name it until you paste it in its new location. Copying from or pasting to the Timeline creates the same effect as dragging to or from the Timeline—Premiere creates another instance of the clip, not a duplicate clip.

Using markers

Markers indicate important points in time and help you position and arrange clips. The Timeline and each clip can individually contain its own set of up to ten markers numbered from 0 to 9. In addition, the Timeline and each clip can individually contain up to 999 unnumbered markers. Working with markers is much the same as working with In and Out points; markers are only for reference and do not alter the video program (except for markers set up as Web links). In general, add a marker to a clip for important points within an individual clip, and add a marker to the Timeline for signiﬁcant time points that affect multiple clips, such as when you need to synchronize video and audio on different clips.

When you add a marker to a clip in Source view or the Clip window, it and any existing markers in the master clip are included with the clip when you add it to the Timeline or create a duplicate clip. However, if you open a clip from the Project window and add a marker to it, the marker won’t be added to any duplicate clips or clip instances already in the Timeline.

When you add a marker to the Timeline or the Program view, it appears in both the Timeline and in the Program view, but is not added to any master clips. A marker you add to a clip in the Timeline appears with the clip, and a marker you add to the Timeline itself appears on the time ruler.

Timeline markers can also include a comment, a Web link, or a chapter link. Comments appear in the Program View window only, Web links initiate a jump to a Web page in your browser, and chapter links initiate a jump to a chapter in a QuickTime movie or DVD.

Premiere includes clip marker commands that you can use both to set the In and Out points of a clip and to go to those points. In addition, you can also set and go to the video/audio In and Out points, which is useful when you are working in a clip that includes a split edit. These commands are available only for the selected clip, and do not apply to the Timeline.

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To add a marker:

1 Do one of the following:

• To add a marker to a clip, open it in the Source view or the Clip window, or select a

clip in the Timeline.

• To add a marker to a clip in the Timeline, select the clip or double-click the clip to

open it.

• To add a marker to the Timeline, activate the Program view or the Timeline.

2 Go to the time location where you want to set the marker.

3 Choose Clip > Set Clip Marker or Timeline > Set Timeline Marker (depending on where

you want to add the marker), and choose the marker you want to add.

Note: If you are working in the Monitor window, you can use the Marker button ( ) at the bottom of the window instead of using the menu command.

Numbered markers that have been placed in the project are indicated in the menu by a dot to the left of the marker numbers.

To insert markers while a clip or the Timeline plays, play the clip and press * (the

asterisk key) on the numeric keypad whenever you want to insert a marker. You can also insert a numbered marker by pressing its keyboard shortcut as a clip or the Timeline plays. (For keyboard shortcuts, see the Quick Reference Card.)

To go to a marker:

1 Activate the window in which you want to go to a marker.

2 Do one of the following:

• To go to a numbered marker, choose Clip > Go to Clip Marker > marker x or

Timeline > Go to Timeline Marker > marker x.

• To go to the next marker, choose Clip > Go to Clip Marker > Next or

Timeline > Go to Timeline Marker > Next.

• To go to the previous marker, choose Clip > Go to Clip Marker > Previous or

Timeline > Go to Timeline Marker > Previous.

• To go to the ﬁrst marker in the Timeline, press Ctrl+Shift+Up arrow (Windows) or

Command+Shift+Up arrow (Mac OS).

• To go to the last marker in the Timeline, press Ctrl+Shift+Down arrow (Windows) or

Command+Shift+Down arrow (Mac OS).

To use markers to help position clips, use the Snap to Edges command in the Timeline window menu or the Toggle Snap to Edges button ( ) at the bottom of the Timeline window (see “Moving clips in time” on page 105). To hide markers or move them when moving multiple tracks, use the Show Markers and Block Move Markers options, respectively, in the Timeline Window Options dialog box (see “Customizing the Timeline window” on page 78).

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To delete a marker:

1 Do one of the following:

• To delete a marker from a clip, open it in the Source view or the Clip window, or select

a clip in the Timeline.

• To delete a marker from a clip in the Timeline, select the clip or double-click it to open it.

• To delete a marker from the Timeline, activate the Program view or the Timeline.

2 Go to the marker you want to delete (see previous procedure).

3 Choose Clip > Clear Clip Marker > Current Marker or Timeline > Clear Timeline Marker >

Current Marker, as appropriate.

To delete all markers:

1 Do one of the following:

• To delete markers from a clip, open it in the Source view or the Clip window.

• To delete markers from the Timeline but not from clips in the Timeline, activate the

Program view or the Timeline.

2 Choose Clip > Clear Clip Marker > Clear All Markers or Timeline > Clear Timeline Marker > Clear All Markers.

Using Timeline markers for comments

You can add comments to a Timeline marker, and if you are in QuickTime Editing mode, the comments are displayed in the Monitor window as ghosted text. The default duration for marker comments is one frame (the frame where the marker appears on the Timeline), and the comment displays when that frame displays. To display the comment for longer than one frame, increase the comment duration.

To create a marker comment:

1 Activate the Program view or the Timeline.

2 Go to the time location where you want to add the link.

3 Click the Marker button ( ) at the bottom of the Program view, choose Mark, and

select a marker number.

4 When the marker appears in the Timeline, double-click it to open the Marker dialog box.

5 Type a comment in the Comment ﬁeld.

6 Type a duration in the Duration ﬁeld for the amount of time you want the comment

to display.

Creating Web links

By typing a Uniform Resource Locator (URL) under Web Links in the Marker dialog box, you create an automatic link to that site at the marker’s location in the program. Premiere embeds this information within movies. When these movies are included in Web pages created by programs such as Adobe GoLive, the embedded URL is recognized at playback, initiating a jump to the speciﬁed URL. You can further deﬁne the link by typing a speciﬁc frame number within the site for Target Frame. Web link markers work only with Timeline markers and supported output formats, such as QuickTime.

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To create a Web link:

1 Create a Timeline marker and then double-click it to open the Marker dialog box.

2 For Web Links, type the URL for the site.

3 To activate a speciﬁc frame in a site, type the ﬁlename of the frame for Frame Target and

click OK.

To view or modify information for a Web link:

1 Double-click a Timeline marker.

2 In the Marker dialog box, view the information and make any changes you want.

3 To view or change information for another marker, click Prev or Next. When you are

done, click OK.

Creating chapter links

You can also create a Timeline marker as a chapter reference point, similar to chapters used in CD-ROM and DVD discs. Like the chapters of a book, a chapter link divides a movie into segments. Chapter links are supported in QuickTime movies and DVD.

To create a chapter link:

1 Create a Timeline marker and then double-click it to open the Marker dialog box.

2 For Chapter Links, type the chapter name and number and click OK.

Editing clips

The options in this section can be used on only one clip at a time, unless otherwise noted in the descriptions.

Editing a clip in its original application

The Edit Original command opens clips in their original application so that you can edit them and then have those changes automatically incorporated into the current project without exiting Premiere or replacing ﬁles. Exported Premiere movies can also be embedded with information that allows them to be opened using the Edit Original command that is in other applications, such as Adobe After Effects.

To edit a clip in its original application:

1 Select a clip in either the Project Window or the Source View of the Monitor Window.

2 Choose Edit > Edit Original.

To save a Premiere project with the information necessary to use the Edit Original command:

When exporting a clip or the Timeline, choose Project Link from the Embedding Options menu in the Export Settings dialog box. For information on exporting a movie, see “Exporting a video” on page 224.

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Scaling a clip

When a clip is in the Timeline, you can scale and position it using the scaling options provided by the Motion feature. For information about the Motion feature, see “Animating a clip’s motion” on page 173.

To change the size of a clip and preserve its position:

1 Select a clip in the Timeline.

2 Choose Clip > Video Options > Motion.

3 In the Zoom option, drag the slider or type a scaling percentage. Watch the sample

image in the upper right corner of the dialog box; ignore the motion preview in the upper left corner of the dialog box for now.

4 In the sample image with the motion path, drag the ﬁrst (red) motion point to position the scaled clip in the frame.

5 Write down the coordinates in the Info option and the percentage in the Zoom option.

6 Click the second (white) motion point in the sample image, and type the Info

coordinates and Zoom percentage that you noted in the previous step. This sets position and zoom to begin and end at the same point so that the clip does not move or scale over time.

7 Check the motion preview in the upper left corner of the dialog box. If the image is at the correct position and size, click OK. If not, repeat steps 4 through 6 to reposition the image.

Changing clip duration and speed

The duration of a video or audio clip is the length of time it plays—the difference in time between a clip’s In point and Out point. The initial duration of a clip is the same as it was when the clip was imported or captured. If you alter the beginning and ending of a clip by editing the source In and Out points, its duration changes. You can also set the duration of a clip by specifying a length of time from its current source In point. A still image can also have a duration if you want to display it for a speciﬁc length of time. You can set the default duration of the still images you import; see “Importing still images” on page 66.

The speed of a clip is the playback rate of the action or audio compared to the rate at which it was recorded. Speed is initially the same as it was when the clip was imported or captured. Changing a clip’s speed alters its source frame rate and may cause some frames to be omitted or repeated. In addition, changing the speed of a clip requires playing the same number of frames for a different length of time, which also changes the duration (moves the Out point) of the clip. Changing the speed to a negative value (such as -100) causes the clip to play in reverse. When you change the speed of a clip containing interlaced ﬁelds, you may need to adjust how Premiere treats the ﬁelds, especially when the speed drops below 100% of the original speed. See “Processing interlaced video ﬁelds” on page 95.

Note: When playing back a reversed (negative speed) .AVI clip in Premiere for Windows, you cannot use the Loop or Play In to Out buttons in the Clip window or Source view.

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To change the duration of a clip or still frame:

1 In the Timeline or Project window, select a clip.

2 Do one of the following:

• To change duration numerically, choose Clip > Duration, type a new duration, and

click OK.

• To change duration visually in the Timeline, move the selection tool over the edge of

the clip, and drag either end of the clip. If you are making the clip longer, the source clip must contain enough additional frames beyond its source In and Out point to accommodate the adjustment.

As you move the selection tool over the edit point between two clips, the icon changes, depending on which clip it is over and whether that clip has additional frames available.

The icon changes to show that it affects the left clip (A) or the right clip (B). The arrows indicate which way a clip can be trimmed: either left (C), right (D), or both directions (E).

To change the speed of a clip in the Timeline only:

1 Select a clip, and do one of the following:

• To change speed numerically, choose Clip > Speed. Type a percentage or new duration

(or type a negative value to play a clip in reverse), and click OK.

• To change speed visually, select the rate stretch tool ( ) and drag either end of the clip.

To change the speed of a clip that is not in the Timeline:

1 In a Project or Bin window, select a clip.

2 Do one of the following:

• To specify the new speed in terms of percentage or duration, choose Clip > Speed.

Type a percentage or new duration (or type a negative value to play a clip in reverse), and click OK. Applying this command to a clip in a Project or Bin window won’t affect clips already in the Timeline.

• To specify a new speed by changing the frame rate of the source clip, choose

Clip > Advanced Options > Interpret Footage. Click Assume This Frame Rate, type a value in frames per second, and click OK. Premiere redistributes all of the clip’s frames to

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create the new speed. If there are Timeline instances and duplicate clips based on the clip, their frame rates and durations change accordingly.

If you set a clip in the Timeline to the duration you require, but you don’t like where

the clip begins and ends in relation to the clips before and after it, you can use the slip tool to adjust the clip without changing the clip’s program In and Out point or duration. See “Editing a clip that exists between other Timeline clips” on page 105.

Changing the frame rate of a clip

You can change the number of frames displayed per second for a clip by specifying its frame rate. You may want to change the frame rate of a video ﬁle to decrease its frame size or make it match the rate of other clips in your project. Changing the frame rate does not change the speed of action, unless you use the Interpret Footage command, which changes both the frame rate and the speed of action. When you specify a frame rate lower than that at which the clip was shot or lower than the project frame rate, there aren’t enough source clip frames to match the project frame rate, and movement may appear jerky. In this situation, Premiere makes up for the missing frames by repeating the last available source frame until the next new source frame is available. However, you can apply frame blending, which interpolates between available frames to create intermediate frames that can make motion seem smoother. Frame blending is also useful after changing clip speed, which also changes the frame rate.

The actual frame rate of a clip during playback or export depends on a complex relationship between the source clip frame rate, the project timebase, the frame rate you speciﬁed for playback or exporting, and any modiﬁcations you make using the procedures in this section. Changing the frame rate may cause some frames to be omitted, created, or repeated. If you want to change the frame rate for the entire Timeline, do not use any procedures in this section; instead, see “Video settings” on page 12 and “About exporting video from Premiere” on page 218.

To change the frame rate of a source clip in order to change the speed of action:

1 Select a clip in a Project or Bin window, or in the Timeline.

2 Choose Clip > Advanced Options > Interpret Footage.

3 Select Assume This Frame Rate, type a value in frames per second, and click OK.

Premiere redistributes all of the source clip’s frames to create the new speed. If there are Timeline instances and duplicate clips based on the clip, their frame rates and durations also change.

To change the frame rate of a clip in the Timeline without changing the speed of action:

1 Select a clip in the Timeline, and choose Clip > Video Options > Frame Hold.

2 In the Clip Frame Rate section, select Alternate Rate and type a new frame rate.

3 Select Frame Blending if desired, and click OK.

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Processing interlaced video ﬁelds

In some video sources, such as NTSC, PAL, or SECAM, each video frame consists of two interlaced ﬁelds, each one representing a particular point in time. One ﬁeld contains the odd-numbered lines in the frame, and the other contains the even-numbered lines. The two ﬁelds display in sequence to create a frame, but the ﬁeld dominance, or the ﬁeld displayed ﬁrst, can vary depending on the video format and the equipment used to capture and play it. If the ﬁeld dominance is reversed, motion may ﬂicker or appear jerky because the ﬁelds no longer display chronologically. Fields can become reversed in the following situations:

• The ﬁeld dominance of the original videotape was the opposite of the ﬁeld dominance

of the video-capture card used to capture the clip.

• The ﬁeld dominance of the original videotape was the opposite of the ﬁeld dominance

of the video-editing or animation software that last rendered the clip.

• You have set an interlaced clip to play backward in Premiere.

Premiere can process ﬁelds for an interlaced clip in the Timeline so that the clip’s picture and motion quality are preserved in situations such as changing the clip speed, exporting a ﬁlmstrip, playing a clip backwards, or freezing a video frame. The following settings operate on individual clips; ﬁnal results are affected by the project settings in the Keyframe and Rendering Options (see the description of the Field Settings option in “Keyframe and rendering options” on page 14 and “Exporting a video” on page 224).

To specify ﬁeld processing options for a clip:

1 Select a clip in the Timeline.

2 Choose Clip > Video Options > Field Options.

3 Select Reverse Field Dominance if the ﬁeld dominance of the selected clip is the

opposite of the ﬁeld dominance used by your video-capture card. This option is also useful when your project contains clips captured using different video-capture cards or when you play a clip backward.

4 Click one of the following Processing Options:

• Select None if you don’t want to process source clip ﬁelds.

• Select Interlace Consecutive Frames to convert pairs of progressive-scan (noninter-

laced) frames into interlaced ﬁelds. This option is useful for converting 60-fps progressive-scan animations into 30-fps interlaced video, because many animation applications don’t create interlaced frames.

• Select Always Deinterlace if you want to convert interlaced ﬁelds into whole

progressive-scan frames. Premiere deinterlaces by discarding one ﬁeld and interpolating a new ﬁeld based on the lines of the remaining ﬁeld. It keeps the ﬁeld speciﬁed in the Field Settings option (see “Keyframe and rendering options” on page 14 and “Exporting a video” on page 224). If you speciﬁed No Fields, Premiere keeps the Upper Field unless you selected Reverse Field Dominance, in which case it keeps the lower ﬁeld. This option is useful when freezing a frame in the clip.

• Select Flicker Removal to stop a small object in a picture from ﬂickering, such as a

one-pixel horizontal line. This option is sometimes known as vertical convolution, and can be useful with still images. If an object is as thin as a single scan line, it may appear only in one of the two video ﬁelds. This causes ﬂicker because the object is drawn only

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as every other ﬁeld appears. When you select Flicker Removal, Premiere blurs the two ﬁelds together slightly so that thin objects appear at least partially in both ﬁelds. The full resolution of the frame is preserved.

5 Select Deinterlace When Speed is Below 100% to automatically identify and retain ﬁelds that would best provide smooth-looking slow motion. Whether or not the upper or lower ﬁeld in the successive frames is kept will depend on when that frame occurs. When you’re done, click OK.

Maintaining the original aspect ratio of a clip

A project can contain clips that have varying aspect ratios (proportions of height to width). The aspect ratio of a project is determined by the frame size you specify in the Project Settings or Export Settings dialog boxes. When a clip in the Timeline uses an aspect ratio that is different from the project aspect ratio, Premiere stretches the clip to match the aspect ratio of your project. However, this distorts the picture; resolve this problem by maintaining the clip’s original aspect ratio. When you maintain the aspect ratio of a clip with a different aspect ratio from the frame, two sides touch the edge of the frame and empty space appears outside the other two sides, similar to how letterboxed wide-screen videos appear on a television. You can specify the color for the empty areas.

To maintain the original aspect ratio of a clip:

Select a clip in the Timeline and choose Clip > Video Options > Maintain Aspect Ratio.

To set the color for frame areas outside a clip with a maintained aspect ratio:

1 Select a clip in the Timeline.

2 Choose Clip > Video Options > Aspect Fill Color, specify a color (see “Using the color

picker” on page 160), and click OK.

Enabling and disabling clips

Disabled clips do not appear in the Monitor Program view and will not appear in a preview or video ﬁle that you export. You can disable clips in the Timeline. This is useful if you want to suppress clips while you try out a different editing idea, to shorten processing time when working on a complex project, or to exclude a clip from an EDL you export. If you have not locked a disabled clip, you can still make changes to it. If you want to disable all clips on the same track, exclude the entire track instead; see “Customizing track views” on page 79.

To enable or disable a clip:

Select one or more clips in the Timeline, and choose Clip > Enable Clip on Timeline. A check mark next to the command indicates that the selected clip is enabled. Disabled clips are marked by a hatch pattern of backslashes.

Locking and unlocking clips

Locking clips in the Timeline is useful for preventing changes to them—particularly accidental changes. Locked clips continue to be displayed in the Monitor Program view and will appear in video ﬁles you export. They appear in the Timeline with a hatch pattern of slashes. If you want to lock all clips on the same track, lock the entire track instead; see “Locking and unlocking tracks” on page 84.

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To lock or unlock a clip:

Select one or more clips in the Timeline and choose Clip > Lock Clip on Timeline. A check mark next to the command indicates that the selected clips are locked.

Finding the source of a program clip

You can quickly ﬁnd the source of any clip in the Timeline and highlight it in the Project or Bin window that stores it. You can also view the source of a clip in the Monitor window so that it is ready to edit.

To view the source of a program clip:

Select a clip in the Timeline and do one of the following:

• Choose Edit > Locate Clip to highlight the source in the window that stores it.

• Choose Clip > Open Clip to view the source in the Monitor window.

Freezing a video frame

You can freeze one frame of a clip, so that only that frame displays for the duration of the clip, as if you imported the frame as a still image. You can freeze on the clip’s In point, Out point, or at marker 0 (zero) if present.

To freeze a video frame:

1 Select a clip in the Timeline.

2 If you want to freeze a frame other than the In or Out point, move the edit line to the

frame you want, and choose Clip > Set Clip Marker > 0.

3 Choose Clip > Video Options > Frame Hold.

4 Select Hold On, and select the frame you want to hold from the menu.

5 Specify the following options as necessary and then click OK:

• If one or more effects with keyframes are applied to the clip and you want to prevent

clip settings from changing during the duration of the clip, select Hold Filters.

• If the clip was originally interlaced video, select Deinterlace to prevent a ﬂickering

image.

Note: If the frame doesn’t freeze, make sure that you set the marker on a clip and not on the Timeline ruler.

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Editing a video program

You can edit a program in the Monitor window using the source and program controllers to enter timecode, or you can edit visually in the Timeline. Some time-based edits are easier in the Timeline, where you can adjust In and Out points and duration by clicking and dragging. By zooming in on the Timeline, you can edit individual frames with the mouse. By zooming out, you can quickly make large changes (see “Using the Timeline window” on page 78).

Editing using the keyboard

Some experienced video editors can edit faster using the keyboard than the mouse. Premiere provides keyboard shortcuts for most commands and buttons, so it is possible to edit a video program with minimal use of the mouse. This guide and the Quick Reference Card fully document all keyboard shortcuts.

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

Do one of the following:

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

available, the keyboard shortcut appears in the Tool Tip after the tool description. (If Tool Tips do not appear, choose Edit > Preferences > General and Still Image and make sure that Show Tool Tips is selected.) Repeatedly press a timeline tool shortcut to cycle through all the tools available in the group.

• For a menu command, the keyboard shortcut is listed on the menu to the right of the

command, if a shortcut is provided.

• For keyboard shortcuts not listed in menus or Tool Tips, see the Quick Reference Card.

Adding a clip to the Timeline

A clip in your project is not actually part of the ﬁnal video program until you add it to the Timeline. When you do this, it appears in the Program view and in the Timeline, and the ﬁrst frame of the clip is the In point that you set in the Source view. You can add or remove clips by clicking and dragging clips between windows or by using Monitor window controls. Dragging is a more visual method and depends heavily on using the mouse. Using the Monitor window controls emphasizes the keyboard and allows many edits to be performed entirely within the Monitor window. You can use either method at any time.

Note: Depending on the relationship between your source clip and project settings, certain source frames may be omitted or repeated after the clip is added to the Timeline.

To add a clip by dragging:

1 Mark the In and Out points of the source clip. (See “Marking and ﬁnding In and Out

points” on page 85.)

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2 Drag the clip from the Source view to an unused spot in the desired Timeline video or

audio track. If you drag a clip that contains both video and audio, and if both Take icons are enabled (see “Specifying source and target tracks” on page 83), Premiere automatically adds both the video and audio and starts them at the same time.

If you don’t need to trim a clip or you don’t want to trim it yet, drag it directly from

a Project or Bin window to the Timeline.

Note: If you are building a rough cut and have expanded the Video 1 track, start by dragging clips into the Video 1A track. Use the Video 1B track as an alternate track, or B-roll, and use tracks Video 2 and above as superimpose tracks (see “Customizing track views” on page 79). Avoid using the Video 1A track to insert cutaways, or alternate footage, over the Video 1B track; instead, put cutaways in the appropriate superimpose track.

To add a track while adding a clip:

Drag a clip from the Project window or from the Source view in the Monitor window into the time ruler or into the blank space at the bottom of the Timeline window. Premiere adds either an audio track, video track, or both, depending on the content of the source clip.

To add a source clip using Monitor window controls:

1 Set up the Take Video and Take Audio icons and the target program tracks (see

“Specifying source and target tracks” on page 83).

2 Mark the In and Out points of the source clip (see “Marking and ﬁnding In and Out points” on page 85).

3 Drag the program controller to the point in time where you want the source clip In point to begin playing. See “Using Monitor window controllers” on page 73.

4 Do one of the following:

• Click the Insert button ( ), or choose Clip > Insert at Edit Line. Any video and audio

clips following the edit point are moved later in time by the duration of the inserted source clip. If the edit line bisects an existing clip, Premiere splits the clip and moves the clip’s second half and any other subsequent clips later in time, to make enough room for the new clip. Note that the exact tracks that move depend on the setting of the On Insert option in the Timeline Window Options dialog box; see “Customizing the Timeline window” on page 78.

• Click the Overlay button ( ), or choose Clip > Overlay at Edit Line. Any existing video

or audio frames occupying the duration of the inserted clip are replaced by the inserted clip.

For information about editing clips in the program, see “Editing a clip that exists between other Timeline clips” on page 105.

Note: By default, the Insert and Overlay buttons add a clip to the Timeline at the edit line. You can override this and specify the intended location of your clip by setting a program In point, a program Out point, or both. See “Replacing program frames using a three- or fourpoint edit” on page 103.

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Adding multiple clips using an automated process

To quickly assemble a rough cut of a project or add a sequence to an existing project, add multiple clips from a Project window bin to the Timeline using the Automate to Timeline command. Premiere uses an insert edit to add the clips. In A/B Editing mode, Premiere alternates the video clips between the Video 1A and Video 1B tracks and the audio clips between the Audio 1 and Audio 2 tracks. In Single-Track Editing mode, Premiere places all the video clips side by side on the Video 1 track and alternates the audio clips between Audio 1 and Audio 2 tracks. Premiere can also automatically add transitions. The Automate to Timeline command adds only the clips within the bin you are adding; it does not add other bins or the clips they contain that are within the bin you are adding.

In addition to using the Automate to Timeline command with a bin in the Project window, you can use it with the Storyboard window, which lets you organize clips by dragging them in the window. See “Creating a storyboard” on page 101.

Choosing Automate to Timeline displays the Automate to Timeline dialog box, which provides the following options:

Contents Speciﬁes what part of the bin gets added to the Timeline. If you choose Whole Bin, all clips in the bin are added, regardless of whether you have selected clips. If you choose Selected Clips, only those clips you have selected are added.

Ordering Speciﬁes the method used to determine the order of the clips when they are added to the Timeline. If you choose Sort Order, Premiere uses the sort order set in the list view of the Project window, regardless of which view is currently selected. (If you are working in the Storyboard window, Sort Order uses the order in which the clips appear in the window, from left to right and from top to bottom.) If you choose Selection Order, clips are added according to the order in which you selected them in the Project window.

Note: When the Project window is in Icon view, you can select clips by dragging a selection marquee around them. If you use this method to select clips and Ordering is set to Selection Order, Premiere will add the clips using the order in which they appear in the Project window.

Placement Speciﬁes how clips are placed in the Timeline. If you choose Sequentially, clips are placed in sequence, alternating between the Video 1A and 1B tracks in A/B Editing mode, or side by side in Single-Track Editing mode, with the audio portions alternating between the Audio 1 and Audio 2 tracks. If you choose At Unnumbered Markers, clips are placed at unnumbered Timeline markers. Your choice for Placement determines which of the following options display in the Automate to Timeline dialog box.

Insert At Speciﬁes where in the Timeline the ﬁrst clip is added. You can choose to add clips at the beginning of the Timeline, at the current position of the edit line, or at the end of the Timeline.

Insufﬁcient Material Speciﬁes how Premiere handles the space between clips when clips are added based on markers and a clip’s duration leaves a space between it and the next clip. Choose Fit to Fill to change the duration of the clip to ﬁll the space between markers. Choose Leave Gap to leave the space blank. Insufﬁcient Material is available only when At Unnumbered Markers is selected for Placement.

Clip Overlap Speciﬁes the overlap between adjacent clips in the Timeline. You can set this option to either frames or seconds. The default value of this option is 15 frames. By typing a negative number, you can create a gap between adjacent clips. Clip Overlap is available only when Sequentially is selected for Placement.

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Macromedia Premiere - 6.5 Instruction Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Using Help

About online Help

Navigating in Help

Using bookmarks, the table of contents, the index, and Find

Contents

Introduction

We l c ome

Registration

Installing Adobe Premiere

Getting started

If you are new to Premiere:

If you are an experienced Premiere user:

Using the printed documentation

Using online Help

Using tool tips

Using Web resources

About Adobe Online

Using Adobe Online

Accessing Adobe Online through the Help menu

Other learning resources

Customer support

Customer support on Adobe Online

Additional customer support resources

Wo r king with Projects

Wo r king with a project

Selecting an initial workspace

Starting a project

Specifying project settings

General settings

Video settings

Audio settings

Keyframe and rendering options

Saving and loading 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

Wo r king with windows in Premiere

Using window and palette menus

Using the Project window’s bin view

Organizing clips using bins

Using libraries from earlier versions of Premiere

Customizing a Project or Bin window display

Viewing clip information in the Project window

Printing window contents

Changing the startup window

Wo r king with palettes

Changing the palette display

Using the Info palette

Using the Navigator palette

Using the Commands palette

Using the History palette

Capturing and Importing Source Clips

Obtaining source material for your project

Capture checklist

About online editing

Connecting the analog video source

Connecting the DV video source

Digitizing analog video as DV

Recording or replacing timecode (DV only)

Recording continuous timecode as you shoot

Recording timecode before shooting

Replacing timecode

File-size limitations

Preparing for analog capture

Preparing for DV video capture

Avoiding DV capture problems

Using the Movie Capture window

Capturing clips without device control

Capturing clips with device control

Batch-capturing video

Logging clips to a batch list

Saving, exporting, and importing batch lists