Macromedia Premiere - 7.0 Instruction Manual
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About Help
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help system. This help system includes information on all tools, commands, and features of
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Adobe Premiere Pro Help Contents
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Contents
Learning About Adobe Premiere Pro 4
Key Features in
Adobe Premiere Pro 10
Tutorials 15
Working with Projects 40
Capturing and Importing Source Clips 63
Assembling a Sequence 103
Editing a Sequence 138
Adding Transitions 162 Mixing
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Audio 171
Using the Adobe Title Designer 193
Superimposing and Compositing 219
Applying Effects 235
Producing Final Video 289
Keyboard Shortcuts 312
Legal Notices 314
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Learning About Adobe Premiere
Pro
Welcome
Welcome to Adobe® Premiere® Pro, a revolutionary nonlinear video-editing application that
delivers a breakthrough render-free experience. Its high-performance toolset takes video and
audio production to a new level, giving you a professional edge. Built for the superior
performance of Microsoft Windows XP systems, Adobe Premiere Pro delivers the power and
precision you need to tell a story better and faster than ever before.
Adobe provides a variety of options for you to learn Adobe Premiere Pro, including online Help
and tool tips.You can also use the Adobe Web site to easily access a host of continually
updated Web resources for learning Adobe Premiere Pro, from tips and tutorials to technical
support information.
Adobe Acrobat
possible to view Adobe PDF files. Many of the files on the Adobe Web site are in PDF
format.
®
Reader® software, included on the Adobe Premiere Pro CD, makes it
Getting help
There are a number of ways to get the help you need in Adobe Premiere Pro.The following
table can help you find specific resources, based on the type of information you require.
If you . . . Try this . . .
Are new to all versions of
Adobe Premiere
Want information on install- Install the Adobe Premiere Pro application from the Adobe Premiere
ing Adobe Premiere Pro Pro CD onto your hard drive; you cannot run the program from the
Are upgrading from a previous
version of Adobe Premiere
• Browse through the information in “Working with Adobe Premiere
Pro” on page 5 for information on specific tasks.
• Choose Help > Contents.Then select “Looking at the Work Area”
from the links on the Contents tab.
• Go to www.adobe.com/products/premierepro and look for train-
ing information.
• Move the pointer over a tool to display the name of the tool.
• Use the Tip of the Day topics to get information on some of the key
Adobe Premiere Pro tasks. Choose Help > Tip of the Day.
CD. Follow the on-screen installation instructions. For more detailed
information, see the HowToInstall.rtf file on the CD.
Go to the “Key Features” chapter to get information on functionality
that is improved from Adobe Premiere 6.0 and 6.5.
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If you . . . Try this . . .
Want step-by-step instructions
Are looking for detailed
information about a feature
Are looking for background Go to www.adobe.com/products/premierepro and look for back-
information on digital video ground information.
Want answers to common
troubleshooting questions
Want a complete list of keyboard shortcuts
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Try one of the tutorials available on the Adobe Web site. (See
Premiere Pro support page” on page 8.)
Use the index or search for the feature in Help.
Search the Adobe Support Knowledgebase and Premiere Pro Top
Issues, which you can access from the Adobe Premiere Pro
support
Premiere Pro support page” on page 8.)
Look at the Keyboard Shortcuts Appendix.
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Working with Adobe Premiere Pro
People work with Adobe Premiere Pro in many different ways. In this section, you’ll find
directions to specific information to help you accomplish some common Adobe Premiere
Pro tasks.
If you want to mix audi o
• Create audio crossfades using the audio transitions in the Effects palette (see “Cross-
fading or fading out audio” on page 176).
• Record a voiceover microphone or other external analog source directly to a track by
using the Audio Mixer (see
“Capturing analog audio” on page 79).
• Control the volume level of each track in a sequence using the track sliders in the Audio
Mixer, and control clip gain using the Clip > Audio Options > Audio Gain comma nd (see
“Adjusting gain or volume levels” on page 175).
• Apply effects to audio tracks using the Audio Mixer, or to audio clips using the Effects
palette (see
“Applying effects to audio tracks” on page 184 and “Applying effects to
audio clips” on page 185).
• Vary audio settings over time by using mixer automation (see
“Automating audio
changes in the Audio Mixer window” on page 190) or by setting keyframes in the
Timeline window (see
• Apply advanced editing techniques to your source clips by using Adobe Audition
(see
“Using audio from Adobe Audition” on page 78).
“Working with keyframes in the Timeline window” on page 222).
®
If you want to superimpose or composite clips
Superimposing and compositing can be as simple as importing clips and stills, stacking
them on video tracks in the Timeline window, and using transparency to let clips on lower
tracks show through. Alpha channel transparency is automatically applied. For clips
without alpha channels, Adobe Premiere Pro provides many ways to apply transparency.
• Import clips (see
(see
“Defining transparency terminology” on page 219).
“Importing clips” on page 81) containing an alpha channel
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• Make a clip uniformly transparent by changing the Opacity value (see “Adjusting
opacity” on page 221).
• If a clip’s transparency is defined by a specific color, apply a keying effect (see
“Using
keys” on page 227).
• If transparent areas are marked by another file, such as a matte, apply the matte to the
clip (see
“Using matte keys” on page 230).
If you want to color correct a clip
Adobe Premiere Pro includes a number of image adjustment filters, including a comprehensive color correction filter. Moreover, you can accurately measure your adjustments
using industry standard waveform monitor and vectorscope.
• Select a clip in a sequence and cue the current frame to the clip (see
Timeline window” on page 138).
• If you plan to use the scope views, open a reference monitor and gang the reference
monitor and program view together (see
“Using a reference monitor” on page 112).
• Set the reference monitor’s display mode so that it displays one of the waveform monitor
or vectorscope options (see
“Choosing a Display Mode setting” on page 110 and
“Understanding the waveform monitor and vectorscope” on page 111).
“Editing clips in the
• Apply the Color Corrector filter to the clip and adjust its parameters (see
“Correcting
color in a clip” on page 254).
If you want to prepare media created in other Adobe products for
Adobe Premiere Pro
Adobe Premiere Pro accepts a wide range of file formats, but is particularly well integrated
with files created by other Adobe products. When you import files created with other
programs, such as Adobe Photoshop
smoothest and most efficient workflow:
• Make image adjustments (such as retouching or color correction) before importing a file
into Adobe Premiere Pro.Though you can make many of the same adjustments later in
Adobe Premiere Pro, making them beforehand can spare you unnecessary processing
time (see
“About Fixed effects” on page 235, “About Standard effects” on page 235, and
“Previewing a sequence” on page 157).
• Crop or resize still images to dimensions that are compatible with your Adobe Premiere
Pro project, taking differences in pixel aspect ratio i nto account (see
ratio” on page 99).
• Crop or resize oversized images that you want to animate in Adobe Premiere Pro to the
minimum dimensions you need to achieve the effect, and make sure that the image
doesn’t exceed the maximum dimensions allowed (see
and
“Animating effects by using keyframes” on page 245).
• Create and save transparent areas as an alpha channel, and understand how Adobe
Premiere Pro interprets aspects of Adobe Illustrator and Adobe Photoshop files, such as
empty areas and clipping masks (see
• Understand which elements of an Adobe After Effects
Adobe Premiere Pro project (see
®
and Adobe Illustrator®, take steps to achieve the
“About pixel aspect
“File-size limitations” on page 102
“Importing still images” on page 82).
®
project can be transferred to an
“Opening a project in Adobe After Effects” on page 299).
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If you want to customize your editing environm ent
Adobe Premiere Pro’s flexible interface lets you work the way that’s best for you and your
projects.You can fully customize the windows, workspaces, and most keyboard commands
to maximize your efficiency:
• Customize each window according to your editing style or the task at hand (see
“Customizing the Project window display” on page 50, “Using labels” on page 53,
“Customizing the Monitor window” on page 108, and “Using the Timeline window” on
page 114).
• Arrange and resize windows and palettes to suit your system or personal preferences,
and save the arrangement as a custom workspace (see
Premiere Pro” on page 44).
• Familiarize yourself with standard keyboard shortcuts, and create your own custom
shortcuts for nearly any command or function (see
55 and the Keyboard Shortcuts Appendix).
“Working with windows in Adobe
“Using keyboard shortcuts” on page
If you want to burn your movi es onto DVD discs
You can create DVDs directly in Adobe Premiere Pro if you have a DVD burner connected to
your computer. Adapt your projects easily for the DVD format:
• Ensure that your clips and transitions play back correctly by preparing your audio and
video clips for DVD (see
• Set sequence markers in the Timeline window to designate chapters in your DVD movie
(see
“About chapter links” on page 127).
• Select from a comprehensive list of transcoding options by choosing File > Export >
Export to DVD and selecting Encoding (see
“Requirements for DVD output” on page 291).
“Exporting to DVD” on page 289).
If you want to capture an d export video
Adobe Premiere Pro is designed specifically to make DV capture and export a snap:
• Configure your video capture hardware according to the manufacturer's instructions.
Make sure that your hard drive has adequate space available and is fast enough for
video capture (see
• When you create a new project, choose a preset that matches your capture device's or
source material’s video specifications (see
• Choose File > Preferences > Device Control to set up your device controller. Select the
Scratch Disks preference to specify the hard disk that you'll capture video and audio to
(see
“Setting up device control equipment” on page 68 and “Using scratch disks” on page
57).
• Choose File > Capture and set In and Out points as your video plays. Or use the Scene
Detect feature to capture DV segments that were created each time the camera's Record
button was pressed. When all your clips are logged, click the In/Out button to capture
them to the hard disk (see
• Make sure that you specify the correct compressor and data rate for video export. Review
the steps for exporting to videotape in
on page 297 and “Video export settings” on page 304.
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“Avoiding DV capture problems” on page 96).
“Specifying project settings” on page 58).
“Using Capture window device controls” on page 69).
“Preparing a DV program for videotape recording”
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Other learning resources
In addition to the information included with your application, Adobe provides several
other learning resources.
Adobe Premiere Pro support page
On the Adobe Premiere Pro support page on the Adobe Web site, you’ll find product information and links for downloading plug-ins and updates, as well as information on training,
support, vertical market solutions, and Adobe Premiere Pro–related products.The many
useful learning tools available at
following:
• Step-by-step tutorials
• Updates, patches, and plug-ins
• Links to the Adobe Support Knowledgebase, containing the latest Adobe Premiere Pro
technical support solutions
• Training resources in print and online form
• A searchable database of answers to technical questions
• Links to user forums
Adobe Press
Adobe Press offers books that provide in-depth training in Adobe software, including the
acclaimed Classroom in a Book
purchasing Adobe Press titles, visit the Adobe Web site at
your local book distributor.
The Adobe Certification program
The Adobe Certification program offers users, instructors, and training centers the opportunity to demonstrate their product proficiency and promote their software skills as Adobe
Certified Experts, Adobe Certified Instructors, or Adobe Authorized Learning Providers.
Certification is available for several different geographical regions. Visit the Partnering with
Adobe Web site at
www.partners.adobe.com to learn how you can become certified.
Adobe Solutions Network
The Adobe Solutions Network (ASN) provides various product and technical resources for
developing with Adobe Premiere Pro. Here, you can find software developer kits (SDKs),
sample libraries, the Developer Knowledgebase, and technical guides for areas such as
JavaScript.
www.adobe.com/products/premierepro include the
®
series developed by experts at Adobe. For information on
www.adobe.com, or contact
To access the Adobe Solutions Network for Adob e Premiere Pro:
Go to
partners.adobe.com/asn/premierepro/ (English only) on the Adobe Web site.
Registration
In order for Adobe to provide you with the highest quality software, offer technical support,
and inform you about new Adobe Premiere Pro software developments, please register
your application.
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You can choose to submit the form directly or fax a printed copy.You can also register by
filling out and returning the registration card included with your software package.
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Customer support
When you register your product, you may be entitled to technical support.Terms may vary
depending on your country of residence. For more information, refer to the technical support
card provided with the Adobe Premiere Pro documentation.
Adobe also provides several forms of automated technical support:
• See the ReadMe file installed with the program for information that became available
after this guide went to press.
• See the Adobe Premiere Pro support page for information on top support issues and
troubleshooting information for common problems. (See
page” on page 8.)
“Adobe Premiere Pro support
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Adobe Premiere Pro Help Key Features in Adobe Premiere Pro
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Key Features in
Adobe Premiere Pro
Introduction
Adobe Premiere Pro is a high-performance toolset that takes video and audio production
to a new level, giving you a professional edge. Delivering frame-accurate control for shortand
long-format projects, Adobe Premiere Pro enables you to produce precise results every
time.
Create projects in a streamlined user interface
Adobe Premiere Pro allows you to arrange clips, view media, and create motion paths with
unprecedented ease. In addition, nested timelines allow new methods of displaying
footage for complex projects.The capture controls, keyframing features, and media
management tools allow you maximum flexibility with your media projects.
Browse media in the revised Project window Quickly arrange your clips by storyboarding in Icon view, which presents media in an orderly, interactive grid. Or, display
media in a detail-rich List view, which offers many information columns, plus an unlimited
number of user-defined columns. For information on the Project window, see
information in the Project window” on page 46.
Expanded Monitor window View a much wider range of media in the Monitor window,
including still images, audio, and color mattes allowing three-point edits. Dock or undock
the Effect Controls window with the Source view window for easy access to these controls.
Dynamically update the targeted timeline with changes. For information on the Monitor
window, see
Enhanced media management Select offline clips in Project win dow folders and easily
recapture them. Link and unlink clips in the Project window with files on your hard disk.
Delete an unwanted clip from the Project window and optionally delete it from your hard
disk to reclaim storage space. Use expanded criteria to search for clips. View the contents of
multiple folders at once and move content between them, or sort folder contents using
multiple criteria. For information on media management in Adobe Premiere Pro, see
“Naming, finding, and deleting Project window items” on page 47 and “Using List view
columns” on page 51.
Improved motion paths Create more exacting motion paths along which traveling
mattes, still images, and video clips can smoothly animate using revamped controls and
built-in support for subpixel positioning. New Ease-in, Ease-out keyframes provide more
natural and fluid motion. For information on motion paths, see
page 240 and “Animating effects by using keyframes” on page 245.
“Using the Monitor window” on page 103.
“Using the Motion effect” on
“Viewing clip
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Keyframeable visual effect parameters Use the new Effect Controls window to set
keyframes for individual effect parameters and create effects with unprecedented control. For
information on keyframing, see
Customizable keyboard shortcuts Use the new Keyboard Customization window to edit
shortcuts for commands, tools, and other options to match your preferences. Save custom
shortcut sets to share with colleagues. For information on customizing keyboard shortcuts,
see
“Using keyboard shortcuts” on page 55.
Improved scene det ection Specify a target folder in the Project window from the Capture
window. Keep a n eye on av ailable ha rd disk s pace, deck a ctiviti es such as seeking and
shuttling, and other information during capture. For information on the capture controls, see
“Using the Capture window” on page 64.
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“About the Effect Controls window” on page 237.
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Create projects as part of a larger workflow
Adobe Premiere Pro works with leading Adobe tools such as Adobe After Effects®, Adobe
Photoshop
hardware.You can import and export your projects in a variety of formats to suit your needs.
Tighter Adobe integrat ion Move easily between Adobe Premiere Pro and Adobe After
Effects because they work similarly. Import layered Adobe Photoshop files as flattened clips,
or as timelines with each layer on a separate track. Export projects as AVI and MPEG files for
use in Adobe Encore DVD, a creative tool for authoring sophisticated multilanguage
DVDs.Timeline markers from Adobe Premiere Pro turn into DVD chapter points. For
information on how Adobe Premiere Pro works with Adobe Photoshop and Adobe Illustrator
files, see
works with Adobe After Effects, see
For information about using chapter marks for use in Adobe Encore DVD, see
sequence markers for comments, chapter links, and Web links” on page 126. For information
on working with audio in Adobe Audition, see
Extensive hardware support Work with a wide range of video hardware from Sony DVCAM
equipment and the latest digital video decks and camcorders to third-party boards. Expand
the capabilities in Adobe Premiere Pro to include support for SD and HD thanks to its
resolution independence and its built-in support for the new pixel aspect ratios, time bases,
and frame rates required for these formats. For information on hardware supported in Adobe
Premiere Pro, see
Extensive import and export capabilities Produce video and audio content for all leading
delivery media, including broadcast formats such as DV, SD, and HD; popular optic al for mat s,
such as DVD, CD, VCD, and SVCD; and the Web. Adobe Premiere Pro works with virtually any
codec that Windows XP supports. A sample of supported video formats includes MPEG1,
MPEG2, DV, AVI, Windows Media 9 Series, Real Media 9 (export only), QuickTime, Open
DML (import only), and more. For information on export formats in Adobe Premiere Pro, see
“File types available for export” on page 302.
Continuous raster izatio n of EPS files Scale imported EPS files freely without worry of
pixelization. Adobe Premiere Pro continuously rasterizes EPS files as you scale them. See
“Adjusting position, scale, rotation, and anchor point” on page 241.
®
, and Adobe Encore™ DVD. It also works effortlessly with processors and video
“Importing still images” on page 82. For information on how Adobe Premiere Pro
“Opening a project in Adobe After Effects” on page 299.
“Using
“Using audio from Adobe Audition” on page 78.
“About digital and analog sources” on page 92.
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Export to AAF Easily exchange Adobe Premiere Pro projects for more finishing work:
Export them as AAF (Advanced Authoring Format) files, an industry-endorsed open interchange format. For information on AAF, see
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“Exporting to AAF” on page 300.
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Work with enhanced audio capabilities
Take advantage of powerful new audio controls and built-in ASIO and VST support to
make your audio punch like never before.
Powerful new audio controls Import and export the highest qu ality 24-bit, 96 KHz audio
files. Edit audio clips at the subframe, audio-sample level with precision up to 1/ 96,000 of a
second with 32-bit floating-point mathematical precision—for example, to remove small pops
and crackles. Create and work with multichannel audio to produce surround-sound and
other multichannel audio effects. Record professional voiceovers directl y to a timeline as it
plays back. See
VST (Virtual Studio Technology) compatibility Sweeten audio with 17 powerful industrystandard VST plug-ins that come with Adobe Premiere Pro, including Reverb, EQ, Pitch Shift,
Dynamics, DeNoiser, and MultibandCompressor. New VST plug-in support enables you to
expand your audio toolkit and use your favorite VST plug-ins with Adobe Premiere Pro.
Improve effects and mixing workflow and processing efficiency using sends and submixes.
For information on audio controls in Adobe Premiere Pro, see
on page 171.
ASIO (Audio Stream Input/Output) compatibility Access the multichannel capabilities in
a new generation of high-quality sound cards through built-in ASIO support in Adobe
Premiere Pro. For inform ation on ASIO, see
“Applying effects to audio tracks” on page 184.
“Planning your audio workflow”
“Setting a track’s input source” on page 182.
Adjust color values with ease
Use native YUV processing and three-point color correction to adjust your colors to the
needs of your project.
Native YUV processing Preserve the color values of original DV and other source
footage—and improve application performance by avoiding color conversions—with native
support for YUV processing. For information on YUV processing in Adobe Premiere Pro, see
“Correcting color in a clip” on page 254.
Three-point color correction Make sure shots match, and correct exposure, colorbalance,
and other jarring errors caused by lighting, cameras, and environment with the new color
correction filters in Adobe Premiere Pro. Adjust the hue, saturation, and lightness for
highlights, midtones, and shadows; replace a color throughout a clip with a single selection;
and more. Use built-in waveforms and vectorscopes to make sure that clips share the same
color spectrum and that your color adjustments fall within legal broadcast limits.The Color
Corrector uses 32-bit floating-point mathematical precision. For information on color
correction, see
“About Fixed effects” on page 235, and “About Standard effects” on page 235.
“Understanding the waveform monitor and vectorscope” on page 111,
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Edit with precision
Take advantage of Adobe Premiere Pro’s ability to apply transitions to multiple clips. Move
clips around easily and work with multiple edit points at once.Then preview how your
rendered footage will look before actually rendering it.
Take advantage of editing improvements Apply transitions on any video track, and
automatically apply default transitions to overlapping clips. Overwrite, as well as insert, clips
in a single move by dragging and dropping them on a timeline. Remove a group of clips
from one area—closing the open gap with a ripple delete—and insert them in another area
in a single action. Select and trim multiple edit points at once. Copy and paste
noncontiguous clip selections. View live updates in the Trim window, which shows an edit in
progress as you’re adjusting the clip.Toggle between video-frame-accurate and audiosample-accurate editing with a single click. For information on editing improvements in
Adobe Premiere Pro, see
the Effect Controls window” on page 237, “Removing parts of a sequence” on page 146,
“Trimming clips in the Timeline window” on page 148, and “Using the Trim window” on page
156.
Render-free editing experience Play back full-resolution frames, including titles, transitions,
effects, motion paths, and color correction on two channels, on-screen or on an external
video monitor—with no additional hardware support required.This new renderfree editing
experience enables you to see exactly how your work will look, so you can make more rapid
edit decisions and ultimately deliver files more quickly. For information on render-free
editing, see
“Previewing a sequence” on page 157.
“Applying and controlling Standard effects” on page 244, “About
Work easily with digital video and export to DVD
Edit DV footage easily and export projects directly to DVD from Adobe Premiere Pro.
Enhanced DV device cont rol Use the new scene-detection controls in Adobe Premiere
Pro to divide raw DV footage into scene-based clips. Also create low-resolution, scenebased clips for offline editing.Then, after assembling your rough cut, batch-capture fullresolution versions of only the clips you need. For information on DV device control, see
“Using device control” on page 67.
Direct export to DVD Export projects directly and burn DVDs for distribution of highquality video content. For information on exporting to DVD in Adobe Premiere Pro, see
“Exporting to DVD” on page 289.
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Adobe Premiere Pro Help Tutorials
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Tutorials
Logging and Capturing Clips from DV Tape
In Adobe® Premiere® Pro, you can use the comprehensive set of controls in the Capture
window to log and automatically capture DV footage to your hard disk.You can quickly and
efficiently log clips you want to capture, then batch-capture them all in one session.
1. Connect your DV device.
Connect your camera or deck to your computer using an IEEE 1394 cable, and make sure
both the device and the computer are turned on. Make sure that the tape you want to
capture is loaded into the device.
2. Prepare a project for the clips you’ll capture.
Start Adobe Premiere Pro and open or create a project that was creat ed using one of the DV
presets in the New Project dialog box.When you use a DV-based preset, make sure the
preset’s audio sample rate (48 kHz or 32 kHz) matches the setting on your camera at the time
the tape was recorded.
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3. Open the Capture window and make sure it sees the device.
Choose File > Capture, or press F5. The status line above the preview area tells you about
the connection between your device and Adobe Premiere Pro. If the status line reads“Capture
device offline,”check to make sure all cable connections are secure and the device is on. In
some cases, you may need to click the Settings tab in the Capture window and make sure the
Device Control options are set correctly.
4. Set up the Logging tab.
In the Logging tab in the Capture window, make sure the settings in each section are the way
you want them.
The Setup section specifies whether to capture audio, video, or both, and where in the
project Adobe Premiere Pro will log the clip.
Note that logged clips are not captured immediately; they are stored as offline files in the
Project window until you use the Batch Capture command to actually capture them. If you
want to stored logged offline files separately in the Project window, create a new bin in the
Project window and it will appear in the Log Clips To option.You can set the locations of
captured files using the Settings tab.
Use the Clip Data section to set up the information you want entered with each logged
clip.This data becomes the default for each clip you log, so it’s a good idea to enter this
information before you start.You can also adjust the clip data as the content changes during
playback, because you can edit clip data while the tape is moving.
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The only other options you may want to set before logging are Scene Detect and Handles.
Scene Detect automatically splits a tape into multiple clips based on scene breaks that Adobe
Premiere Pro detects, such as when you pause the tape while recording. Handles are extra
frames you capture so that you have flexibility for editing and transitions. For transitions, you
should capture the equivalent of at least one second of handles before and after each scene.
5. Adjust the Settings tab.
In the Settings tab in the Capture window, make sure the settings in each section are the
way you want them.
The Capture Locations settings let you specify the folder or disk where Adobe Premiere
Pro saves clips when they’re captured. By default, captured files are saved in the My
Documents folder.
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The Device Control section includes Device settings you can adjust if Ado be Premiere Pro
has trouble recognizing your device.The lower part of the Device Control section contains
settings you can adjust in the course of normal capture; however, for DV capture the only
option you might use is Abort Capture On Dropped Frames.The Preroll Time and
Timecode Offset options are more commonly used when capturing footage from analog
devices.
6. Log clips.
In the Capture window, use the tape transport controls to move to the first frame of the first clip
you want to capture, and then click Set In. Use the controls to move to the last frame of the
clip and then click Set Out. Click Log Clip, change the clip data as needed, and then click OK.
Adobe Premiere Pro adds the logged clip as an offline file in the Project window. Repeat this
step as many times as needed for the other clips you
want to log.
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As you log clips, feel free to adjust options as necessary as the content on the tape changes.
For example, as the tape plays back, you can adjust the Log Clips To Bin or the Clip Data
options as you anticipate an upcoming scene. Or if you clicked Set In or Set Out a little earlier
or later than you intended to, you can type in a new timecode or slide the In or Out point
slightly by dragging the timecode numbers to the left or right.
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7. Batch-capture logged clips.
You can batch-capture any clips you’ve logged, as long as your capture device is online.
Select offline files in the Project window, choose File > Batch Capture, and click OK.
You’ll see options in the Batch Capture dialog box, but you do not need to use them unless
you want to override the default capture settings.When batch capture finishes, the offline clips
in the Project window are replaced with the captured clips.
If you simply want to capture one or two clips quickly, t here’s no need to log clip s in advance.
Use the device controls in the Capture window to find the first frame you want to capture and
click Set In. Use the controls to find the last frame you want to capture, click Set Out, and then
click In/Out in the Capture section. When the clip is captured, enter clip data when asked.
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Generate a Sequence Automatically
Of all filmmaking tools, few are as useful as the storyboard. Before you shoot, a storyboard
helps you visualize and plan your project. During production—when you're acquiring shots
out of sequence, sometimes days apart—a storyboard can preserve your sense of
continuity. So once the shots are complete, it only seems natural to arrange them into
storyboard form before committing them to a rough cut. With Adobe
can organize clips in the Project window in storyboard fashion, then generate a sequence
automatically with video and audio transitions.
®
Premiere® Pro, you
1. Set up the Project window.
In the Project window’s pop-up menu, choose View > Icon to display your clips in a storyboard-style grid. Go to the Project window’s pop-up menu again and choose Thumbnails >
Off to uncheck the option and make the clips appear as thumbnail images.To change the
size of the thumbnails, choose Thumbnails and select the size you prefer. Resize the
Project window to show all of your clips if necessary.
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2. Set each clip’s thumbnail image.
Select a clip to view it in the preview area at the top of the Project window. Press the Play
button next to the preview image, or drag the scroll bar under the preview image to cue the
clip to a representative frame. When you’ve found an image that best signifies the clip’s
contents, click the Poster Frame button to set the clip’s thumbnail image.
If you do not set the poster frame, each clip’s In poin t (initially, a clip’s first fra me) is used as
the thumbnail image. Even if you change the In point later for editing, it may not make the best
representative frame in a storyboard.
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3. Arrange the clips into a storyboard.
In the Project window, drag the clips into the order you want them to appear in the
sequence. Arrange them from left to right, top to bottom, in storyboard fashion.You can
drag a marquee to select a group of clips or Ctrl-click to add or subtract from your selection.
Clips shift forward in the storyboard to make room for clips you drop into an occupied space
in the grid.To quickly move clips back into view that have shifted outside the Project
window, and to eliminate empty spaces between clips, choose Clean Up from the Project
window’s pop-up menu.
4. Edit your clips as needed.
You can double-click a clip to open it in the Source view of the Monitor window and use the
Source view’s playback controls to watch the clip. Define the first frame you want to include
in the sequence by clicking the Set In Point button in Source view, and define the last frame
you want to include by clicking the Set Out Point button.
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You should set In and Out points to define the parts of the clips you want to use, especially
when the source clips include more footage than you plan to include in the final sequence.
However, you don’t need to be too meticulous: Many editors use the storyboard method to
create a quick rough cut and refine the sequence later.
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5. Create duplicate clips as needed .
If you want to use parts of a clip more than once in a storyboard, you can create a duplicate
clip. Select a clip and choose Edit > Duplicate. With the duplicate clip selected, choose Clip >
Rename and give the clip a unique name. Repeat steps 2 through 4 for duplicate clips.
It’s important to understand that you can add a source clip to a sequence as many times as
you want without creating a duplicate clip. However, duplicate clips can come in handy when
you want parts of the same media to appear in different places in a storyboard. Similarly, you
might create one or more duplicate clips from a very lengthy and unwieldy clip.This way, you
could treat each portion of the shot as a different clip.
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6. Select the clips to add to the sequence.
Once you’ve completed your storyboard, select the shots you want to include in the
sequence.To select all the shots in the Project window, choose Edit > Select All. If you
don’t want to include everything in the storyboard, you can drag a marquee to select a
group of shots or Ctrl-click to add and subtract shots from your selection.
The whole idea of a storyboard is to put your shots in sequential order. Nevertheless, you can
have Adobe Premiere Pro place them in the sequence according to the order you select the
clips instead.
7. Add clips to a sequence.
Click the Automate To Sequence button at the bottom of the Project window. Specify the
options you want in the Automate To Sequence dialog box. For Ordering, you can choose
Sort Order, because you’ve arranged your clips into a storyboard. For Placement, choose
Sequentially; because you’re creating a rough cut, you can place the clips one after the other
rather than at predefined points in the sequence. It does not matter what you choose for
Method—Insert Edit or Overlay Edit—because in this case, there aren’t any clips in the
sequence already. If you want a specific transition between each clip, check the appropriate
box or boxes to apply the default audio or video transition. Specify the duration of the
transitions by entering a value for Clip Overlap.To exclude either the video or audio tracks,
select the appropriate Ignore option.
When you click OK, the clips in your storyboard are instantly assembled into a sequence
according to the options you specified.
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Animating an Adobe Photoshop File
You can make sophisticated compositions in Adobe® Premiere® Pro by adding motion
graphics to your video clips. Import multilayered graphics from Adobe
manipulate their scale, skew, and position. Every track is a compositing track that includes an
alpha channel so that transparency is built in. Just add layers, adjust, and go!
®
Photoshop® and
1. Import Adobe Photoshop files.
To take full advantage of new compositing capabilities in Adobe Premiere Pro, use
Photoshop files with transparent backgrounds, or add an alpha channel to an existing
Photoshop file. For example, you can create a logo on a single, transparent layer to
animate over video. (For instructions, see Adobe Photoshop Help.)
Import the Photoshop file as footage with merged layers and then add it to the topmost
track in the Timeline window. Add video clips to the lower tracks. Use the rate stretch tool
in the Timeline window to adjust the duration of the graphic to around five seconds.
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2. Optimize your work area to use effects.
Adobe Premiere Pro uses effects to animate layers and provides a workspace setting
designed specifically for this task. Choose Window > Workspace > Effects to open the
Effect Controls window, docked in the Monitor window. Click the tab to view its contents.
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3. Set keyframes for the Motion effect.
To animate clips, use the Motion effect.This effect allows you to adjust the position, scale,
and rotation properties of a clip. Because these properties are intrinsic characteristics of a
clip, they are built into every clip. As such, the Motion, Opacity, and Volume effects appear in
the Effect Controls window whenever you select a clip in the Timeline window.To view
these effects, select the Photoshop file in the Timeline window.
To make Motion properties vary over a specific duration, you must set at least two
keyframes for each property. Adobe Premiere Pro interpolates values between these
keyframes. Expand the Motion effect in the Effect Controls window and click the
stopwatch for each property to establish starting keyframes.
4. Adjust the clip handles.
The easiest way to animate scale and position is by directly manipulating clip handles in
the Program view of the Monitor window. To activate clip handles, select the Motion
effect in the Effect Controls window. Handles appear around the edges of the image and
an anchor point appears at its center. All adjustments are calculated around the anchor
point.
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Next, position the selection tool on the image in the Program view.To adjust scale or
rotation, position the selection tool over a handle and drag when the rotation or scale
cursor appears. To adjust position, place the selection tool anywhere on the clip
(except on a clip handle) and drag. Use a combination of adjustments to set the graphic’s
starting position.
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5. Animate the graphic.
In the Effect Controls window, move the current-time indicator to the end of the timeline. When
you adjust the Photoshop file in the Program view, Adobe Premiere Pro automatically creates
new keyframes for each property value that you change. Change the Photoshop file’s
position, scale, and angle in the Program view, using the area in and around the video
frame.To see the entire video frame and work area, select a setting such as 25% for the View
Zoom Level in the Program view.
When you reposition the graphic, a dotted motion path appears in the Program view. Each dot
represents a frame in the timeline; X’s represent keyframes.
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6. Adjust the motion path in the Program view.
To create more interesting animations, you can adjust the shape of the motion path and
change the interpolation method for your keyframes. In the Effect Controls window, move
the current-time indicator to the middle of the timeline and click the Add/Remove Keyframe
button to add a new Position keyframe. In the Program view, drag the new keyframe (which
appears at the center of the anchor point) so that the motion path forms an angle.
Next, change the interpolation methods of the keyframe so that the graphic’s speed varies,
simulating realistic movement. Right-click the center keyframe you just created in the
Effect Controls window and choose Fast In from the menu that appears to accelerate the
clip’s movement as it approaches the keyframe. Right-click the keyframe again and
choose Easy Curve Out to slow its movement as it exits the keyframe.
7. Add other effects.
You can add other video effects by dragging them to the clip in the Timeline window from
the Effects window. Or you can animate the Opacity effect to make the Photoshop file fade to
black by setting two keyframes: one with a value of 100%, the second with a value of 0%.
8. Preview the animation. When you’ve completed your animation, press the
spacebar to preview the results.
You can animate any clip using the methods discussed here or you can use the Transform
effect to skew the clip in addition to adjusting its position, scale, and angle.
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Apply an Effect to an Entire Nested Sequence
In Adobe® Premiere® Pro, you can nest a sequence within another sequence. When you
apply an effect to a nested sequence, the effect applies uniformly to all clips in the
sequence, so nesting is a great way to apply an effect to multiple clips at one time. Once
you organize each section of a video program into sequences, you can nest them all in a
master sequence for your video program.
1. Set up the sequences.
You’ll need to have at least two sequences to use nestin g. An Adobe Premiere Pro project
contains one sequence by default, so create a second sequence b y clicking the New Item
button in the Project window and choosing New Sequence.
2. Arrange the clips to which you want to apply an effect.
Choose File > Import, select a folder or one or more clips, and click Open. Drag the imported clips from the Project window to one of the sequences and arrange them as
needed.
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You’ll be nesting the sequence containing clips in the other sequence, which is still empty.
You’ll use the other sequence as the master sequence for your video program.
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3. Add the sequence of clips to the master sequence.
In the Timeline window, click the tab for your master sequence to bring it to the front. Then,
in the Project window, drag the icon for the sequence containing clips to the master
sequence in the timeline.
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4. Apply the effect.
Choose Window > Effects, locate the effect you want to apply, and drag it to the nested
sequence in your master sequence.
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5. Preview the effect.
Play back your master sequence. The effect is applied uniformly to all clips in the
nested sequence.
If you play back the nested sequence, you won’t see the effect applied, because it is
applied within the sequence where it’s nested.
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