Macromedia Premiere Pro - CC User Guide

Adobe® Premiere® Pro CC

Help

Legal notices

For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html.

Last updated 6/9/2015

Contents

Chapter 1: What's New

New features summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Chapter 2:

What is Adobe Anywhere? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 3: Workspace and workflows

Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Work ing with Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Sync settings using Adobe Creative Cloud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Creative Cloud Libraries in Premiere Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Basic workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Using the Source Monitor and Program Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Adobe Dynamic Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Direct-Link workflow between Premiere Pro and SpeedGrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Cross-application workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Cross-platform workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Keyboard shortcuts in Premiere Pro CC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

iii

Chapter 4: Project setup

Creating and changing projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Consolidate, transcode, and archive projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Chapter 5: Importing footage

Supported file formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Transferring and importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Importing sequences, clip lists, and compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Importing still images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Importing digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Importing assets from tapeless formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Importing XML project files from Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Capturing and digitizing footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Batch capturing and recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Working with timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Setting up your system for HD, DV, or HDV capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Capture HD, DV, or HDV video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Support for growing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Digitizing analog video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Create clips for offline editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Last updated 6/9/2015

PREMIERE PRO

Content s

Chapter 6: Managing assets

Organize assets in the Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

Customizing the Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Managing metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Working with aspect ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

Find assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Render and replace media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Monitor overlays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 7: Monitoring assets

Using the Reference Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Playing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Waveform monitors and vectorscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Chapter 8: Editing

Create and change sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Add clips to sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Edit from sequences loaded into the Source monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Rearrange clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Find, select, and group clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Rendering and previewing sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Multi-camera editing workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

Working with markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Create and play clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Trimming clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Create special clips (synthetics) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Working with offline clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Relinking offline media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Working with captions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Source patching and track targeting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Synchronizing audio and video with Merge Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

Modifying clip properties with Interpret Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Remove alerts with the Events panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Undo, history, and events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283

Freeze and hold frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Chapter 9: Audio

Overview of audio and the Audio Track Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Working with clips, channels, and tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Editing audio in a Timeline panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Monitor clip volume and pan using Audio Clip Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Panning and balancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Recording audio mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Multiple stereo assignments for tracks to multichannel masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Control surface support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Last updated 6/9/2015

PREMIERE PRO

Content s

Editing audio in Adobe Audition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Advanced mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332

Chapter 10: Titles

Creating and editing titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Creating and formatting text in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Live Text templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Titler text styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Working with text and objects in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Add images to titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Drawing shapes in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Fills, strokes, and shadows in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Rolling and crawling titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Chapter 11: Effects and transitions

About effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

Applying, removing, finding, and organizing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Viewing and adjusting effects and keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

Effect presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Master Clip Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Masking and Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Stabilize motion with the Warp Stabilizer effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Transition overview: applying transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Modifying and customizing transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Change duration and speed of clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Motion: position, scale, and rotate clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401

Adjustment layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Color correction effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Three-Way Color Corrector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Audio effects and transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Working with audio transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433

Applying effects to audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

The rolling shutter repair effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Interlacing and field order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Eliminate flicker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

Creating common results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Chapter 12: Animation and keyframes

Animating effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Adding, navigating, and setting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444

Moving and copying keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Optimize keyframe automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Controlling effect changes using keyframe interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Chapter 13: Compositing

Compositing, alpha channels, and adjusting clip opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Last updated 6/9/2015

PREMIERE PRO

Content s

Chapter 14: Exporting

Workflow and overview for exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Exporting projects for other applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463

Export a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Export to Panasonic P2 format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Exporting to DVD or Blu-ray Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Exporting to videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Exporting for the Web and mobile devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Exporting OMF files for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Smart rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Working with Adobe SpeedGrade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Working with Adobe Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Chapter 15: System Requirements

System requirements for Premiere Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Last updated 6/9/2015

Chapter 1: What's New

New features summary

The June 2015 release of Premiere Pro CC brings you fast new color workflows, a powerful Morph Cut transition, expanded collaboration capabilities, easier asset sharing, and several new features that help you edit with finesse, and deliver amazing content.

Explore the new features

COLOR

USER INTERFACE

MORPH CUT

EDITI

COLLABORATION

OTHER FEATURES

AUD IO

Last updated 6/9/2015

What's New

OLOR

Premiere Pro CC introduces brand new color tools that combine the best of Adobe SpeedGrade and Adobe Lightroom technologies. Editing and color grading now work hand in hand, more closely than ever before.

The new Lumetri Color workspace in Premiere Pro provides editors the complete toolbox for professional color grading. You can grade your footage using professional color tools directly on your editing timeline.

Apply simple color corrections or complex Lumetri Looks using intuitive sliders and controls. Easily adjust cuts or finetune grades using advanced color correction tools. And if you want to do more, bring your project into SpeedGrade via Direct Link to make more refinements.

To le a r n m ore, s e e Color workflows .

MORPH CUT

Morph Cut is a powerful new transition in Premiere Pro that lets you create more polished interviews by smoothing out distracting jump cuts without having to cross-dissolve or cut away.

Last updated 6/9/2015

What's New

Morph Cut uses an advanced combination of face tracking and optical flow interpolation to create a seamless transition between clips.

To le a r n m ore, s e e Morph Cut .

COLLABORATION

Creative Cloud Libraries

Creative Cloud Libraries are now available in Premiere Pro. All your favorite assets can be accessed from a single Library panel in Premiere Pro.

Capture a Look in Adobe Look mobile app, create a graphic in Photoshop, or save an Adobe Stock image and access them directly in Premiere Pro. You can save, access, and reuse assets stored in Libraries across Adobe's desktop and mobile apps.

You can share Libraries with anyone with a Creative Cloud account. Library sharing makes it easy to collaborate with teams and maintain consistency across projects with common assets like graphics, colors, Looks, or type styles.

Select Window > Library to open the Library panel in Premiere Pro.

To le a r n m ore, s e e Creative Cloud Libraries in Premiere Pro.

Last updated 6/9/2015

What's New

Tighter integration with Premiere Clip

Adobe Premiere Clip makes the creation of amazing videos with your iPhone and iPad easy and fast. Premiere Clip's tighter integration with Premiere Pro steps up your creative power to the next level by leveraging the power of Creative Cloud to seamlessly transfer assets from your mobile to desktop and take them through some professional-grade editing.

You can now open your Premiere Clip projects directly from the Welcome screen in Premiere Pro.

Edits, music cues, and Looks applied in Premiere Clip translate directly into a Premiere Pro timeline. This integration allows you to seamlessly transition from quick mobile editing to the more professional desktop non-linear editing with just a couple of easy steps.

To le a r n m ore, s e e Edit Premiere Clip videos in Premiere Pro .

Seamless Integration with Adobe Stock

Adobe Stock is a new service that sells millions of high-quality, royalty-free photos, illustrations, and graphics.

You can search for Adobe Stock content directly from within Premiere Pro through the Libraries panel (Win d o w > Libraries) by clicking the Search Adobe Stock button in the panel. You can then purchase a license for an asset you want to use and include it in your Premiere Pro Library. Or, you can add an unlicensed preview (watermarked) copy to your Library and purchase a license for it later.

To le a r n m ore, s e e Using Adobe Stock and Creative Cloud Libraries in Premiere Pro.

Deeper collaboration with Adobe Anywhere

Adobe Anywhere is a collaborative workflow platform that enables teams using Premiere Pro and Prelude to work with centralized media and assets across standard networks.

To le a r n m ore, s e e Premiere Pro and Adobe Anywhere .

AUDIO

Audio workflow improvements

This release of Premiere Pro comes integrated with the powerful audio engine from Adobe Audition, ensuring a more seamless and robust audio editing experience.

Other new features include a faster voice-over recording configuration, improved multi-channel audio export, and a more intuitive user interface for audio routing. The new audio routing interface gives you more control over visually assigning the output channels for standard, mono, 5.1, and adaptive tracks. The audio channels in the Modify Clip workflow come with a matrix to match the available channels in the source file to the channels and track items in the clip.

In addition, Premiere Pro now allows plug-and-play with a wide range of audio hardware, including ASIO and MME (Windows) and CoreAudio (Mac) with pre-loaded setup for these device types.

Dynamic Link video streaming

When you send Premiere Pro projects to Audition using the Dynamic Link video streaming video option, you can view video in its native resolution within Audition.

1 In a Project panel, select a sequence containing audio.

2 Select Edit > Edit In Adobe Audition and then select Sequence from the submenu.

Last updated 6/9/2015

What's New

3 In the Edit In Adobe Audition dialog, under Video, choose Send Through Dynamic Link.

4 Select Open In Adobe Audition to open the selected clip in its native format in Audition.

USER INTERFACE

Task-oriented workspaces and stacked panels

Premiere Pro now offers a more dynamic user interface with task-oriented workspaces that display the required toolsets for a task at hand.

Each workspace focuses on a specific task of the post-production workflow and includes panels that contain options and controls for working on that task.

The workspaces are designed such that they not only reduce clutter but also guide you through the tasks in a logical workflow. If you are using a touch-based device, you can switch workspaces with a tap of the finger.

To le a r n m ore, s e e Wor k sp a c es .

New Welcome experience

The 2015 release of Premiere Pro CC has a new Welcome experience to help you discover, learn, and use features in Premiere Pro.

Each time you start Premiere Pro or when you click Help > Welcome, a tab-based Welcome screen helps you easily discover new features, getting started tutorials, and tips and techniques.

The content that is displayed is personalized and relevant to your subscription and use of Premiere Pro.

Note: The new Welcome screen is currently available only in the English version of Premiere Pro.

Last updated 6/9/2015

What's New

EDITING

Time Tuner

Time Tuner is a new feature in Adobe Media Encoder that enables you to deliver content that is the right duration without time-consuming micro-editing. Time Tuner adjusts the length of video by automatically adding or removing frames at scene changes or sections of low visual activity.

This feature is especially useful for editors working in broadcast to meet specific delivery requirements.

To le a r n m ore, watch this video tutorial .

Caption burn-in

Premiere Pro lets you burn in permanent captions into your video for both closed captions and open caption file formats.

When you import open caption files, Premiere Pro automatically converts the open captions to closed captions. You can then edit and burn the captions into the export using Premiere Pro or Adobe Media Encoder.

To le a r n m ore, s e e Work i n g wit h c a p t ions .

Editing experience refinements

Clip markers displayed on minimized Timeline tracks

Earlier, clip markers were not displayed when tracks were collapsed to their minimum height. Now, you can always display clip markers. To turn them off, click

in the Timeline panel, and deselect Show Clip Markers.

Improved four-point editing

When the In and Out points on the source are shorter than the In and Out points on the sequence, the Ignore Source In Point and Ignore Source Out Point options are no longer disabled. Earlier, these options were disabled even if the source has available frames to move the In and Out points and accommodate the edit.

Note: Select Always Use this Choice to ensure that the Fit Clip dialog does not appear every time there is a mismatch. However, if there isn't enough media beyond the In or Out pints in the source to make the edit, an Insufficient Content for Edit warning dialog appears.

Logarithmic waveform scaling in the Timeline

Premiere Pro now offers a new Logarithmic Waveform Scaling feature that scales up the peaks and valleys of a waveform to make them easier to read, especially at low noise levels. This feature is turned on by default, and applies to both rectified and non-rectified waveform settings.

To turn this feature off, select the pop-up menu from the Timeline, and deselect Logarithmic Waveform Setting.

Hide items in the Project panel

Premiere Pro lets you selectively hide items in the Project panel, letting you easily focus on only the visible items.

To hide a project item, select the item in the Project panel, and select Hide from the context menu. You can hide not only single project items but also a group of project items including bin folders, sequences, and nested sequences.

Last updated 6/9/2015

What's New

At any point, you can view the hidden items by selecting View Hidden from the context menu. The View Hidden option works on all project items and media types, including bins, sequences, and titles.

Important notes

• You can use the Hide and View Hidden options while using the Search Bins feature in Premiere Pro. For example,

you can create a single location where you can search for clips that have been hidden among all the other bins.

• When you use the Reveal In Project feature on a sequence item whose master clip is hidden, the "View Hidden"

ettings are toggled off. Premiere Pro then displays all hidden items including the master clip that

was hidden.

Sort on XMP metadata in the Project panel

Sorting on XMP metadata columns in the project panel is re-enabled.

Click an XMP column header to sort metadata by this column. After the XMP loading is complete, the progress dialog

sappears and the project panel is sorted.

At any point, you can cancel sort operations that are running long due to XMP loading.

Composite preview during trim

The new Composite Preview During Trim feature lets you trim clips more accurately.

When you drag trim an edit point in a Timeline panel, you can see a preview of what the final composited frames look l

ike in the Program Monitor. You can preview what the composited frames look like on either side of the edit point, and

not just the frames on the track that you are trimming.

To access this feature, click the Wrench icon in a Timeline panel, and select Composite Preview During Trim.

Create a subsequence from a sequence segment

You can now mark a portion of a sequence in the Source monitor with an In/Out range and create a new sequence that contains just that In/Out range with the original clip content and track layout. For example, you can divide a long sequence into segments that can be used as sources for other sequences.

With a sequence open in the Timeline panel or in the Source Subsequence from the Sequence menu. A new sequence is created in the Project panel, using the name of the original sequence, and appended with _Sub_01 and auto-incremented for the next subsequence.

monitor, mark an In and Out range, then choose Make

Disable Master Clip Effects for project items

You can quickly disable Master Clip Effects by selecting one or more project items and choosing Disable Master Clip Effect from the context menu.

In the Effect Controls panel, use the FX button to toggle Master Clip Effects off and on.

AAF Export and reference video track

You can export AAF files directly from Premiere Pro. Select File> Export > AAF to export the selected project.

In the AAF Export Settings dialog, select Mixdown Video to include a reference video clip when exporting. A reference vi

deo clip can help with efficient editing and syncing.

When you open the AAF file, the reference video clip is automatically linked.

Sequential Field playback in Source and Program Monitors

The Display Both Fields option in the Source Monitor and Program Monitor now plays clips sequentially, instead of one after the other. Playing clips one after the other is sometimes found to have combing effects.

Last updated 6/9/2015

What's New

The Display Both Fields option applies only to playback, and not to scrubbing or pausing.

Improved event notifications

In previous versions of Premiere Pro, a warning icon was displayed in the lower right corner of the Status Bar when an event occurred that would be displayed in the Events panel. Since the warning icon is small, it often went unnoticed.

Now, in addition to the warning icon, a notification pop-up dialog appears in the lower right corner of the application. Clic

k the pop-up notification to open the Events Panel that contains more details.

To turn off this pop-up notification, deselect Show Event Notifications in the Preferences dialog under the General ca

tegory.

Improvements to Consolidate and Transcode

• Increased handle frame limit When consolidating and transcoding a project, or rendering and replacing, you can

specify up to 999 additional frames before the In point and after the Out point of each transcoded clip.

• Preserved alpha channel graphics Premiere Pro preserves alpha channels in clips during transcoding. When this

option is selected (default setting), Premiere Pro detects clips with an alpha channel. If the selected preset does no

ontain an alpha channel, Premiere Pro copies the alpha channel without transcoding. If the selected preset contains

c an alpha channel, then the clip is transcoded. Clips without alpha channels are transcoded following the normal rules of transcoding.

Export movies at a specific timecode

Previously, you could only set the start time code of a movie to zero in the Export Settings dialog. Now, you can have an exported movie start at a specified timecode, other than zero. For example, you can specify that an exported movie should start at a timecode of 00:09:32:27.

To specify a timecode, select Set Start Timecode in the Export Settings dialog box, and enter the timecode value.

New frame hold option

You can now freeze a video frame based on a clip's source timecode.

In the Frame Hold options dialog box, a Source Timecode opt Frame field changes to the clip's timecode. Modify the clip timecode value as required.

In addition, the Time option is now renamed to Sequence Timecode.

To learn more about the Frame Hold options, see Freeze and hold frames.

ion is added. When you select Source Timecode, the

New Appearance preferences

The Appearance pane of the Preferences dialog box provides new preferences that let you control the brightness and saturation of the blue highlight color, interactive controls, and focus indicators.

OTHER FEATURES

Expanded format support

Premiere Pro continues to expand its native format support by supporting the following formats:

• DNxHD with compressed alpha

• Canon XF-AVC

Last updated 6/9/2015

What's New

• ProRes 4444XQ

• Panasonic 4K_HS

Premiere Pro also supports DNxHD growing files.

Soft subclip support through XML

Premiere Pro now supports subclips with soft edits in Final Cut Pro project XML files.

New and changed keyboard shortcuts

Contextual keyboard shortcuts for Trim and Nudge

You can now use the same shortcuts for Trim and Nudge commands without having to use a different key combination for each shortcut. The correct shortcut combination works depending on the action you perform in the Timeline - for example, editing a clip versus moving a clip.

In the Keyboard Shortcuts dialog, when you specify a shortcut that has already been used, Premiere Pro displays a warning that the shortcut has already been assigned. However, you can go ahead and assign the shortcut to another command. For example, you can assign the same shortcut to the Trim Forward and Nudge Forward commands.

New keyboard shortcuts to play In to Out

You can assign keyboard shortcuts for the following commands using the Keyboard Shortcuts dialog:

• Play Video In to Out

• Play Audio In to Out

• Play from Playhead to Audio Out Point

• Play from Playhead to Video Out Point

Last updated 6/9/2015

Chapter 2:

What is Adobe Anywhere?

Last updated 6/9/2015

Chapter 3: Workspace and workflows

Workspaces

Note: Premiere Pro CC now provides an enhanced, dynamic user interface with a new task-oriented workspaces layout, tabbed panels, and other improvements. If you are using a version earlier than the 2015 release of Premiere Pro CC, you might not find some of the panels and tools as described in this article.

About workspaces

Adobe video and audio applications provide a consistent, customizable workspace. Although each application has its own set of panels (such as Project, Metadata, and Timeline), you move and group panels in the same way across products.

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

You customize a workspace by arranging panels in the layout that best suits your working style. As you rearrange panels, the other panels resize automatically to fit the window. You can create and save several custom workspaces for different tasks—for example, one for editing and one for previewing.

A Application window B Grouped panels C Individual panel

You can use floating windows to create a workspace more like workspaces in previous versions of Adobe applications, or to place panels on multiple monitors.

Last updated 6/9/2015

Workspace and workflows

Import a workspace with a project

Workspace selections and customizations made in a project are saved in the project file. By default, Premiere Pro opens projects in the current workspace. However, you can instead open a project in the workspace last used with it. This option is particularly helpful if you often rearrange the workspace for each project.

If you import a project and the workspace is empty, close the project. Deselect Import Workspace From Projects. Import the project again, and select an existing workspace for the project.

❖ Before opening a project, select Window > Workspace > Import Workspace From Projects.

Customizing workspaces

Choose a workspace

Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.

In Premiere Pro, Workspace buttons in the Workspaces panel provide you one-click access to default or custom workspaces.

• Switch to the different layouts by clicking the names at the top of the workspace

• Click on the Chevron icon (>>) to open the Overflow menu. The Overflow menu includes workspace layouts that

are not displayed in the Workspace panel.

• Drag the vertical divider next to the Chevron icon to control whether a workspace is displayed or hidden in the

overflow menu.

Note: Older custom workspaces might not have the Workspaces panel open at the top of the workspace. You can open the Workspaces panel, dock it at the top and save the change into the workspace.

Last updated 6/9/2015

Workspace and workflows

You can also open a Workspace from the Window menu:

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

Modify the order of workspaces or delete workspaces

You can change the order in which workspaces are displayed, move a workspace to the Overflow menu, or hide a workspace so that it is not displayed in the Workspaces panel. You can also delete a workspace from the panel.

Note:

1 Click the Workspace menu icon, which appears next to the currently active workspace.

A Work spac e menu icon

2 In the Workspace menu that is displayed, click Edit Workspaces.

Note: You can also access the Edit Workspaces dialog through Window > Workspaces > Edit Workspaces.

3 The Edit Workspaces dialog is displayed. Here you can reorder workspaces, move them into the Overflow menu or

hide them. You can also delete a workspace.

To revert any change that you made, click Cancel.

Last updated 6/9/2015

Workspace and workflows

Save or reset workspaces

Save a custom workspace

As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.

❖ Arrange the frames and panels as desired, and then do one of the following:

• Click the Workspace menu icon and select Save as New Workspace.

• Or, choose Window > Workspace > Save as New Workspace.

Last updated 6/9/2015

Workspace and workflows

Save changes to default workspaces

Note: Once changes to the original default layouts are saved, the only way to recover them is to delete the workspace config file from your Layouts folder

To save the changes made to default workspaces, do one of the following:

• Click the Workspace menu icon and select Save Changes to this Workspace

• Select Window > Workspaces > Save Changes to this Workspace

Reset a workspace

Reset the current workspace to return to its original, saved layout of panels.

❖ Do one of the following:

• Click the Workspace menu icon and select Reset to Saved Layout.

• Choose Window > Workspace > Reset to Saved Layout.

Dock, group, or float panels

You can dock panels together, move them into or out of groups, and undock them so they float above the application window. As you drag a panel, drop zones—areas onto which you can move the panel—become highlighted. The drop zone you choose determines where the panel is inserted, and whether it docks or groups with other panels.

Docking zones

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

Grouping zones

Grouping zones exist in the middle of a panel or group, and along the tab area of panels. Dropping a panel on a grouping zone stacks it with other panels.

Last updated 6/9/2015

Workspace and workflows

Dock or group panels

1 If the panel you want to dock or group is not visible, choose it from the Window menu.

2 Drag the required panel onto the desired drop zone. The application docks or groups according to the type of drop

zone.

Press the Ctrl key while dragging the panel to make the panel free-floating.

Undock a panel in a floating window

When you undock a panel in a floating window, you can add panels to the window and modify it similarly to the application window. You can use floating windows to use a secondary monitor, or to create workspaces like the workspaces in earlier versions of Adobe applications.

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

following:

• Choose Undock Panel or Undock Frame from the panel menu. Undock Frame undocks the panel group.

• Hold down Ctrl (Windows®) or Command (Mac OS®), and drag the panel or group from its current location.

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

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

to the Windows taskbar.)

Resize panel groups

When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized. For example, suppose that your workspace contains three panel groups stacked vertically. If you drag the divider between the bottom two groups, they are resized, but the topmost group doesn’t change.

Last updated 6/9/2015

Workspace and workflows

To quickly maximize a panel beneath the pointer, press the accent key. (Do not press Shift.) Press the accent key again to return the panel to its original size.

1 Do either of the following:

• To resize either horizontally or vertically, position the pointer between two panel groups. The pointer becomes

a double-arrow

• To resize in both directions at once, position the pointer at the intersection between three or more panel groups.

The pointer becomes a four-way arrow

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

A Original group with resize icon B Resized groups

Open, close, and scroll to panels

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

• To open a panel, choose it from the Window menu.

• To close a panel or window, press Control-W (Windows) or Command-W (Mac OS), or click its Close button .

• To see all the panel tabs in a narrow panel group, drag the horizontal scroll bar.

• To bring a panel to the front of a group of panels, do one of the following:

• Click the tab of the panel you want in front.

• Hover the cursor above the tab area, and turn the mouse scroll wheel. Scrolling brings each panel to the front,

one after another.

• Drag tabs horizontally to change their order.

• To reveal panels hidden in a narrow panel group, drag the scroll bar above the panel group.

Last updated 6/9/2015

Workspace and workflows

Working with multiple monitors

To increase the available screen space, use multiple monitors. When you work with multiple monitors, the application window appears on one monitor, and you place floating windows on the second monitor. Monitor configurations are stored in the workspace.

Brighten or darken the interface

You can lower the brightness, as when working in a darkened editing suite or when making color corrections. Changing the brightness affects panels, windows, and dialog boxes but does not affect scroll bars, title bars, and menus that aren’t inside panels. In addition, the change doesn’t affect the application background on Windows.

1 Choose Edit > Preferences > Appearance (Windows) or Premiere Pro > Preferences > Appearance (Mac OS).

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

Video tutorial - Premiere Pro CC (2014)

Overview of the interface

Learn how to use Premiere Pro panels and tools in your video editing workflow.

Working with Panels

Navigate the panels

You can use keyboard shortcuts to activate panels in rotation.

❖ Do one of the following:

• To activate panels in rotation to the right, press Ctrl+Shift+. (period) (Windows), or Control+Shift+. (period)

(Mac OS).

• To activate panels in rotation to the left, press Ctrl+Shift+, (comma) (Windows), or Control+Shift+, (comma)

(Mac OS).

Kevin Monahan provides instructions and keyboard shortcuts for activating panels in this blog post.

Last updated 6/9/2015

Workspace and workflows

Display any panel full-screen

You can expand any panel to display it in full-screen mode, and toggle back to normal view. You can do so with the current panel in focus or the panel you are hovering over with your mouse.

1 Hover your mouse over the panel you want to maximize.

2 Press the accent key (`). Typically, this key lies just to the left of the numeral one (1) key. Some see this key as the

back quote key, or the tilde key. Press the accent key once more to restore the panel size.

You can also maximize a selected panel by choosing Window > Maximize Frame. To restore the panel size, choose Window > Restore Frame Size. You can also press Shift+accent to maximize the panel size of a selected panel. Press the accent key to toggle the panel size of a panel you are hovering over with the mouse.

Note: When Adobe Premiere Pro is installed on a computer with a non-U.S. keyboard, the Maximize Or Restore Frame Under Cursor command might be mapped to a key other than the accent key. The key for Maximize Or Restore Frame Under Cursor (and its counterpart, Maximize or Restore Active Frame) is listed in the Keyboard Shortcuts dialog box. To find it, select the Adobe Premiere Pro Defaults set. Then, select Application from the menu. Scroll down past the Help heading to Maximize or Restore Frame Under Cursor and set the most appropriate keyboard shortcut.

Display panel options

❖ Click the panel menu icon in the upper-right corner of the panel.

You can open a panel menu even when the panel is minimized.

In Photoshop, you can change the font size of the text in panels and tool tips. In the Interface preferences, choose a size from the UI Font Size menu.

Display context and panel menus

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

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

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

Tools panel and Options panel

When you open the Options panel, it opens by default in the horizontal docking area running just under the menu bar, forming the Options bar. You can undock, move, and redock the Options panel like any other panel. By default, the Options panel contains a menu of workspaces and a link to CS Services. You can also dock the Tools panel to the Options panel.

Tools

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

. However, the Selection

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

Last updated 6/9/2015

Workspace and workflows

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

Slide tool K Zoom tool

Select any tool to activate it for use in a Timeline panel by clicking it or pressing its keyboard shortcut. Let the cursor hover over a tool to see its name and keyboard shortcut.

Selection Tool The standard tool for selecting clips, menu items, and other objects in the user interface. It’s generally a

good practice to select the Selection Tool as soon as you are done using any of the other, more specialized, tools. For more information about using the Selection Tool, see

Track Selection Tool Select this tool to select all the clips to the right of the cursor in a sequence. To select a clip and all

Select one or more clips .

clips to the right in its own track, click the clip. To select a clip and all clips to its right in all tracks, Shift-click the clip. Pressing Shift changes the Track Selection Tool into the Multi-track Selection Tool. For more information about using the Track Selection Tool, see

Select one or more clips and Delete all clips on one track.

Ripple Edit Tool Select this tool to trim the In or Out point of a clip in a Timeline. The Ripple Edit Tool closes gaps

caused by the edit and preserves all edits to the left or right of the trimmed clip. For more information about using the Ripple Edit tool, see

Rolling Edit Tool Select this tool to roll the edit point between two clips in a Timeline. The Rolling Edit Tool trims the

Making rolling and ripple edits or this video tutorial about the Ripple Edit Tool by Andrew Devis

In point of one and the Out point of the other, while leaving the combined duration of the two clips unchanged. For more information about using the Rolling Edit tool, see

Making rolling and ripple edits or this video tutorial about the

Rolling Edit Tool by Andrew Devis.

Rate Stretch Tool Sel ect th is tool to shorten a clip in a Timeli ne by speed ing up its playb ack, or to len gthen it by slowin g

it down. The Rate Stretch Tool changes speed and duration, but leaves the In and Out points of the clip unchanged. For more information about using the Rate Stretch Tool, see

Change clip speed and duration with the Rate Stretch tool or

this video about the Rate Stretch Tool by Andrew Devis..

Razor Tool Select this tool to make one or more incisions in clips in a Timeline. Click a point in a clip to split it at that

precise location. To split clips in all tracks at that location, Shift-click the spot in any of the clips. For more information about using the Razor Tool, see

Split or cut one or more clips with the Razor toolor this video about the Razor Tool by

Andrew Devis.

Slip Tool Select this tool to simultaneously change the In and Out points of a clip in a Timeline, while keeping the time

span between them constant. For example, if you have trimmed a 10-second clip to 5 seconds in a Timeline, you can use the Slip Tool to determine which 5 seconds of the clip appear in the Timeline. For more information about using the Slip Tool, see

Slide Tool Select this tool to move a clip to the left or right in a Timeline while simultaneously trimming the two clips

Make slip and slide edits or this video about the Slip Tool by Andrew Devis.

that surround it. The combined duration of the three clips, and the location of the group in the Timeline, remain unchanged. For more information about using the Slide Tool, see

Make slip and slide edits or this video about the Slide

To o l by Andrew Devis.

Pen Tool Select this tool to set or select keyframes, or to adjust connector lines in a Timeline. Drag a connector line

vertically to adjust it. Ctrl-click (Windows) or Command-click (Mac OS) on a connector line to set a keyframe. Shiftclick noncontiguous keyframes to select them. Drag a marquee over contiguous keyframes to select them. For more information about using the Pen Tool, see

Select keyframes.

Last updated 6/9/2015

Workspace and workflows

Hand Tool Select this tool to move the viewing area of a Timeline to the right or left. Drag left or right anywhere in the

viewing area.

Zoom Tool Select this tool to zoom in or out in a Timeline viewing area. Click in the viewing area to zoom in by one

increment. Alt-click (Windows) or Option-click (Mac OS) to zoom out by one increment. For more information about using the Zoom Tool, see

Navigate in a sequence.

Open the Options panel

• Select Window > Options.

Dock the Tools panel to the Options panel

1 In the Tools panel, click the panel menu icon.

2 Select Dock In Options Panel.

Undock the Tools panel from the Options panel

❖ In the Options panel, click the dotted area to the left of Selection Tool.

Premiere Pro removes the Tools panel from the Options panel, and returns the Tools panel to the location it had before docking to the Options panel.

Clip details in the Info panel

The Info panel displays several data about a selected item, and timecode information for clips under the current-time indicator in the Timeline.

At the top of the panel, information is displayed for the current selection. This information varies depending on its media type, the active panel, and so on. For example, the Info panel displays information unique to an empty space in a Timeline panel, or a clip in the Project panel.VideoIndicates frame rate, frame size, and pixel aspect ratio, in that order.AudioIndicates sample rate, bit depth, and channels, in that order.Tap e Indicates the name of the tape.InIndicates the In point timecode of the selected clip.OutIndicates the Out point timecode of the selected clip.DurationIndicates the duration of the selected clip.

The section below the current selection data contains the timecode values for the active sequence and for clips in each of its video and audio tracks. These values are displayed in a stacking order that matches the Timeline for easy visual correlation. Video track timecodes are displayed with the highest track number on top, and audio tracks are displayed with the highest track number on the bottom. The only time this section is blank is when all sequences are closed.

When a track is added to or deleted from the current sequence, the Info panel updates to accurately display the number of tracks in the sequence. There is no limit on the number of tracks displayed. Similarly, when the user switches to a different sequence, the Info panel updates to display the correct number of tracks in that sequence.

The Info panel displays timecode for the current selection and for all track items under the current-time indicator. When the playhead crosses a blank area in the timeline, no timecode value is displayed for that track, but the track label remains visible and undimmed. The vertical stack layout of the timecodes is easily correlated with the physical layout of the tracks in the sequence.

Last updated 6/9/2015

Workspace and workflows

A Name of selected clip B Data for selected clip C Tape na me D Sequence timecode locations of clip Start and End points E Name of active sequence F indicator H

Source timecode location in selected clip of current-time indicator G Source timecode location in clips on video tracks of current-time

Source timecode location in clips on audio tracks of current-time indicator

Note: You can change the default behavior of some of the panels in the Preferences dialog box. See Preferences.

Sync settings using Adobe Creative Cloud

When you work with Adobe® Premiere® Pro on multiple machines, managing and syncing preferences, presets, and libraries between them can be time-consuming, complex, and error-prone.

The new Sync Settings feature lets you sync your general preferences, keyboard shortcuts, presets, and libraries to the Creative Cloud. For example, if you use more than one computer, the Sync Settings feature helps keep settings synchronized across machines.

You can also download and use settings on a computer that contains a copy of the software licensed to a different user. This feature lets multiple users work with their own personal settings on the same computer. For example, freelance editors working during different shifts in a post-production facility.

Syncing happens through your Adobe Creative Cloud account. The settings are uploaded to your Creative Cloud account and then downloaded and applied on the other computer. You must initiate the sync manually. It does not happen automatically, and it cannot be scheduled.

Last updated 6/9/2015

Workspace and workflows

Initiating Sync

On first launch, you can initiate the sync by selecting Sync Settings Now from the Welcome screen. Or you can select File > [your Adobe ID] > Sync Settings Now.

The Adobe ID associated with the product's license is used to identify the user. If you haven't already created and uploaded settings for this application, the local settings are uploaded to the cloud by default.

Sync settings from a different account

You can choose to sync the settings from a different Adobe ID instead of the Adobe ID associated with the product license used on the computer you're working on.

To use a different Adobe ID to sync the settings, select Use Settings From a Different Account from the Welcome screen. Or select File > [your Adobe ID] > Use Settings From a Different Account.

Enter the Adobe ID and password. The settings for that Creative Cloud account are downloaded and applied, and the user name appears in the Welcome Screen.

Managing Sync

Clear Settings

You can clear all settings and revert to default settings. Select Edit > [your Adobe ID] > Clear Settings.

Note: If you select Clear Settings while a project is open, Premiere Pro saves and closes the current project to proceed.

Last updated 6/9/2015

Workspace and workflows

Specify Sync preferences, and manage sync conflicts

The Preference dialog box lets you specify the sync setting options. For example, you can choose to have only keyboard shortcuts stored in the Creative Cloud, and not sync the other preferences and settings on a computer.

The Preference dialog box also lets you choose what to do when a sync conflict occurs.

Sync settings To specify what gets synchronized, Select File > [your Adobe ID] > Manage Sync Settings. Or open Sync

Settings in the Preferences dialog box (Edit > Preferences > Sync Settings).

Note: To sync your settings successfully, change the settings only from within the application. The sync settings feature does not sync files manually placed in the preferences folder location.

Select the options to sync preferences and settings. Synchronizable preferences are not dependent on computer or hardware settings.

• Preferences/Settings

• Wo r k sp a c e La y o u t s

• Keyboard Shortcuts

Note: Keyboard shortcuts created for Windows only sync with a Windows computer. Mac OS keyboard shortcuts only sync with a Mac OS computer.

When Syncing When you initiate a sync, the modification date between the local settings and the settings stored in the

Creative Cloud is compared. If modification dates do not match, a sync conflict is detected.

You can specify what action to take when a sync conflict occurs by selecting from the following:

• Ask My Preference

• Always Upload Settings

• Always Download Settings

When you select Ask My Preference, the Sync Settings dialog opens, prompting you to upload or download your settings.

Last updated 6/9/2015

+ 453 hidden pages