Macromedia Premiere Pro - CS5 Instruction Manual

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Using

ADOBE® PREMIERE® PRO CS5 & CS5.5

Legal notices

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

Last updated 1/16/2012

Chapter 1: What's new

What’s new (CS5.5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

What’s new (CS5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Chapter 2: User interface

Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Working with Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Chapter 3: Workflows and setup

Basic workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Cross-platform workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Cross-application workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Adobe Dynamic Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Setting up your system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

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Chapter 4: Project setup

Creating and changing projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Archiving projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Trim or copy your project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Chapter 5: Importing, transferring, capturing, and digitizing

Transferring and importing files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Importing assets from tapeless formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Importing still images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Importing digital audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Importing sequences, clip lists, libraries, and compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Importing XML project files from Final Cut Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Capturing and digitizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Capturing DV or HDV video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Capturing HD video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Create clips for offline editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Digitizing analog video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Capturing content for DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Batch capturing and recapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

Working with timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

Chapter 6: Managing assets

Customizing the Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Organizing assets in the Project panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Managing metadata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Working with aspect ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

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Chapter 7: Monitoring assets

Using the Source Monitor and Program Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Playing assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Using the Waveform monitors and vectorscope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Using the Reference Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Chapter 8: Editing sequences and clips

Creating and changing sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

Editing multi-camera sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Creating and playing clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Synchronizing audio and video with Merge Clips (CS5.5 and later) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Working with offline clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Modifying clip properties with Interpret Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

Creating special clips (synthetics) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Adding clips to sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Trimming clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Working with clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Rearranging clips in a sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Rendering and previewing sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Correcting mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Remove alerts with the Events panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Working with markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Chapter 9: Editing Audio

Overview of audio and the Audio Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Working with clips, channels, and tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Editing audio in a Timeline panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Recording audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Adjusting volume levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Recording audio mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Panning and balancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Advanced mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Editing audio in Adobe Soundbooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Editing and mixing audio in Adobe Audition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Chapter 10: Titling and the Titler

Creating and editing titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Creating and formatting text in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Drawing shapes in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Add images to titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Working with text and objects in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Fills, strokes, and shadows in titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

Titler text styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Rolling and crawling titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Chapter 11: Effects and transitions

About effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Applying, removing, finding, and organizing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

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Viewing and adjusting effects and keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Applying effects to audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

Working with audio transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Effect presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Creating common results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Motion: position, scale, and rotate a clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Eliminate flicker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Duration and speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Interlacing and field order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

Color correction and adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Transition overview: applying transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Modifying and customizing transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Effects and transitions reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Audio effects and transitions reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Chapter 12: Animation and keyframes

Adding, navigating, and setting keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Moving and copying keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422

Controlling effect changes using keyframe interpolation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Optimize keyframe automation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428

Chapter 13: Compositing

Compositing, alpha channels, and adjusting clip opacity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429

Blending modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

Chapter 14: Exporting

Workflow and overview for exporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Formats exported directly from Premiere Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Export to Panasonic P2 format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Exporting OMF files for Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

Export a still image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Exporting to DVD or Blu-ray Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Exporting projects for other applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Exporting to videotape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Exporting for the Web and mobile devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Chapter 15: Keyboard shortcuts

Finding and customizing keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Default keyboard shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

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Chapter 1: What's new

What’s new (CS5.5)

For a complete list of what’s new and changed in Adobe Premiere Pro CS5.5, see this post on the Premiere Pro Work

Area blog.

To see the new features of Adobe Premiere Pro CS5.5 in action, see this video tutorial series by Video2Brain.

For more information about new features in Premiere Pro CS5.5, see the Adobe website.

Merged Clips Adobe Premiere Pro CS5.5 features a method for synchronizing "dual-system" audio and video. This

streamlines the process by which users can synchronize audio and video recorded separately. See “Synchronizing

audio and video with Merge Clips (CS5.5 and later)” on page 164 and this video by Video2Brain.

Mercury Engine Performance Gains New GPU-accelerated features include speed changes, footage interpretation

options, field-order processing, and video effects and transitions. More video cards are supported, as well.

video by Video2Brain.

Usability Improvements Lot of usability improvements have been added to Adobe Premiere Pro CS5.5, as described

in this video by Video2Brain.

See this

• Keyboard customization: You can now customize your keyboard even more easily with the search field in the

keyboard shortcuts dialog box. See

in Premiere Pro CS5.5 by Video2Brain.

“Find keyboard shortcuts” on page 451 and this video about keyboard shortcuts

• A new overlay allows you to drag clips from the Media Browser, Project panel, or Source panel into the Program

panel to perform an insert or overwrite edit. See page 178.

“Insert or Overwrite by dragging a clip to the Program panel” on

• Add keyframes directly into the timeline using the Pen or Selection tools without having to first enable keyframing.

A modifier key is no longer needed to set keyframes, as well. See

Add, select, and delete keyframes.

• The Unlink command now decouples the audio portion of a clip while automatically leaving the video portion

selected. The Unlink command now works on multiple clips at the same time, as well. See

and audio clips.

Editing in Adobe Audition A new workflow allows you to interchange with Adobe Audition CS5.5 a clip, or an entire

sequence worth of video and audio data, including tracks, individual clips, and keyframes. See

Audition (CS5.5)” on page 250 and this video by Video2Brain.

Accelerated Video Effects More video effects and transitions are now GPU-accelerated for the Mercury Playback

Engine. See

Unified Audio Effects Audio effects are now combined into a single, unified effect. See “Audio effects” on page 405 and

this video by Video2Brain.

Expanded native support for RED digital cinema workflows The RED R3D Source Settings dialog has been redesigned,

and offers intuitive controls to those working with RED media. Saves and loads the latest versions of RMD, creates presets, and allows you to adjust color with a histogram or with curves. Choose a desired Color Science, and apply settings to multiple RED clips simultaneously. See

Video2Brain.

“List of GPU accelerated effects in Premiere Pro CS5” on page 276.

“File formats supported for import” on page 58 and this video by

Link and unlink video

“Edit audio in Adobe

Speech analysis improvements with Adobe Story You can find and fix speech analysis errors more easily by making

side-by-side comparisons of the text of the speech analysis with the text of the Adobe Story script. You can also attach

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an Adobe Story script file (.astx) to a single or multiple clips directly in Adobe Premiere Pro. You don't have to use OnLocation for this step anymore. See

“Improve speech analysis with Adobe Story scripts (CS5.5 and later)” on

page 197 and this video by Video2Brain.

Closed Captioning You can attach a closed caption data file to a sequence and display the closed captions in the

Program Monitor and through Firewire DV output. See

“Attach closed caption files (CS5.5 and later)” on page 156

and this video by Video2Brain.

Integration with Adobe CS Review Enables clients and teammates to take part in reviewing video sequences using a

web browser and annotation tools. Reviewers can make frame-accurate comments that visually correlate to the Adobe Premiere Pro timeline.

What’s new (CS5)

For Premiere Pro system requirements, see the Adobe website.

For lists of various categories of hardware compatible with Adobe Premiere Pro, see the Adobe website.

See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.2).

See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.3).

See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.0.4).

See this page for what’s new and changed in Adobe Media Encoder CS5.

This blog post on the animotion website details the advantages and considerations of upgrading to Premiere Pro CS5.

Native 64-bit and GPU-accelerated performance with Adobe Mercury Playback Engine Edit HD as fluidly as SD. The

Mercury Playback Engine delivers native 64-bit support, GPU acceleration, and other performance and stability improvements. Open projects faster, refine effects-rich HD and higher-resolution sequences in real time, enjoy smooth scrubbing and play back of complex projects without rendering. See results instantly when applying multiple color corrections, the new Ultra Key, Gaussian blurs, and blending modes. Work with numerous other effects across many video layers. Work in real time on complex timelines and long-form projects with thousands of clips. Save rendering time with real-time playback, whether your project is in SD, HD, 2K, 4K or beyond. For more information.

“GPU-accelerated effects” on page 276.

See

Expanded native tapeless workflows In CS5, Premiere Pro gains native support for XDCAM HD 50, AVCCAM,

DPX, and AVC-Intra as well as enhanced RED. Premiere Pro continues support for P2, XDCAM EX and HD, and AVCHD. You never waste valuable production time transcoding or rewrapping, and always have access to the pristine quality of the original files. Edit video natively from the latest DSLR cameras like the Canon 5D Mark II and Canon 7D. For more information, see

Script-to-screen workflow Collaborate on writing scripts with Adobe Story, capturing key production direction as you

“Importing assets from tapeless formats” on page 65.

go. Then, automatically create shot lists from your script in Adobe OnLocation to manage your shoot and capture logging notes. When you import the project into Premiere Pro, metadata from Adobe OnLocation makes it easy to create a preliminary rough cut. Use Speech Search to synchronize the script to footage, and then edit based on the dialogue transcript. With Premiere Pro, you reap the rewards of a well-planned project. For more information, see “Working with Adobe Story, Adobe OnLocation, and Adobe Premiere Pro” on page 33.

Round-trip editing with Final Cut Pro and Avid Media Composer Leverage the unique tools in Premiere Pro in any

production workflow. Final Cut Pro export completes round-trip editing workflows with Apple Final Cut Pro and Avid Media Composer to enable a collaborative production process. Bring the creative benefits of Adobe tools to the whole project. Explore new possibilities with After Effects, Encore, and other Adobe applications. Edit with Speech

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Search, which turns spoken dialogue into searchable text for faster editing. For more information, see “Cross-

application workflows” on page 28.

Editing and production efficiencies from metadata features Add intelligence to your assets using innovative metadata

features. Turn spoken dialogue into searchable text faster and with higher accuracy. Synchronize content with your Adobe Story script, or by using reference scripts that are optimized for your content. Accelerate editing by marking In and Out points in the speech analysis text. Use face detection technology to locate clips containing human faces. Plus, metadata stays with the assets you create, making your content more discoverable online. For more information, see

Understanding the script-to-screen workflow and “Analyze speech for text XMP metadata” on page 194.

Client and team reviews made simple with CS Review CS Review is a new online service that allows you to share dailies

and works in progress for review. CS Review eliminates the need for burning discs or swapping large files back and forth. Encode sequences and automatically upload them in the background for review and collaboration. Clients and teammates can comment on your video using just a web browser, and their frame-accurate comments automatically appear in the Premiere Pro sequence. Upgrading to Premiere Pro CS5 gives you a complimentary one year subscription to CS Review. The CS Review video workflows for Premiere Pro will not be available when Premiere Pro CS5 initially ships. Premiere Pro CS5 customers will automatically receive access to the CS5 Review video workflows when they become available.

Simplify everyday tasks with small changes that make large differences Take advantage of the most requested editing

enhancements. See large productivity gains and smoother day-to-day workflows. Use automatic scene detection to create separate clips from HDV tapes. Import assets from DVDs. Use new extend edit and find gaps keyboard shortcuts. Control keyframes with greater precision. Clean up your sequences quickly with new commands for finding and removing gaps. For more information, see

“Log clips with automatic scene detection” on page 86, “Make rolling

edits with the current-time indicator” on page 189, and “Find gaps in sequences and tracks” on page 203.

Streamlined encoding with revamped Adobe Media Encoder Efficiently deliver your content in virtually any format

with Adobe Media Encoder, now with a more intuitive user interface. Adobe Media Encoder saves you time by batch encoding multiple versions of your source files and Premiere Pro sequences. Set up multiple items for encoding, manage priorities, and control advanced settings for each item individually. Use any combination of sequences and clips as sources. Encode to a wide variety of video formats. DPX joins FLV, F4V, Windows Media (Windows only), QuickTime, MPEG-2, MPEG-4, and H.264 codecs. For more information, see the help document for Adobe Media Encoder: Using Adobe Media Encoder.

Log footage from virtually any camera with Adobe OnLocation CS5 Use the powerful logging options in Adobe

OnLocation when working with tapeless cameras. tell Adobe OnLocation which shot is currently recording. Then enter notes, comments, and additional metadata. When you copy clips from the tapeless camera, Adobe OnLocation automatically merges the information. For more information see help for Adobe OnLocation: Using Adobe OnLocation.

Ultra Key for fast, accurate keying—even on challenging footage Key HD footage in real time with the new Ultra Key

chroma keyer in Premiere Pro. Ultra Key is optimized for footage that includes uneven lighting, wrinkled backgrounds, and frizzy hair. Ultra Key preserves shadows and can achieve complex keys on smoke, liquids, and transparent objects. For more information, see

Native support for DSLR cameras Edit video from the latest DSLR cameras. New native support means that you never

“Chromakey with the Ultra Key effect” on page 380.

waste valuable production time transcoding or rewrapping, and always have access to the original file’s pristine quality. Premiere Pro supports video shot on the following DSLR cameras:

• Canon EOS-1D Mark IV,

• Canon EOS-5D Mark II,

• Canon EOS 7D,

• Nikon D90,

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What's new

• Nikon D300S,

• Nikon D3S

• Nikon D5000

• Panasonic Lumix GH1 using AVCHD sequence presets.

Create searchable web-DVDs in Encore CS5 Create a more engaging experience with web-DVDs that now

automatically include a search interface, making it easier for viewers to jump directly to content of interest. When you use Speech Analysis in Premiere Pro to turn spoken dialogue into searchable text, the information is passed along to Encore. Encore uses the metadata along with subtitles and menu button text to make your web-DVDs searchable. For more information, see Help for Encore: Using Adobe Encore.

Dynamic Link is now bidirectional Dynamic Link communication between Adobe Premiere Pro and Adobe After

Effects is now bi-directional. Previously, if you used Dynamic Link to send information from After Effects to Premiere Pro, you could not later use Dynamic Link to send information from Premiere Pro to After Effects. You had to restart the applications to reset the direction and use Dynamic Link going in the other direction. In Creative Suite CS5, that limitation is gone.

More Help topics

Premiere Pro CS5 feature tour

“Premiere Pro trial versions” on page 42

Last updated 1/16/2012

Chapter 2: User interface

Workspaces

For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press.

For an overview of the Premiere Pro interface, see this video from Learn By Video and Video2Brain by Maxim Jago.

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

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.

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.

In these two tutorials Andrew Devis from Creative Cow shows how to use different workspaces, and how to customize

your workspace.

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Example workspace A. Application window B. Grouped panels C. Individual panel

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.

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

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.

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Dragging panel (A) onto docking zone (B) to dock it (C)

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.

Dragging panel (A) onto grouping zone (B) to group it with existing panels (C)

Dock or group panels

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

2 Do one of the following:

•

To move an individual panel, drag the gripper area in the upper-left corner of a panel’s tab onto the desired drop zone.

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Drag panel gripper to move one panel

• To move an entire group, drag the group gripper in the upper-right corner onto the desired drop zone.

Drag group gripper to move entire group

The application docks or groups the panel, according to the type of drop zone.

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 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.

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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.

Dragging divider between panel groups to resize them horizontally 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.

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Drag horizontal scroll bar to see all panels in narrow group

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.

More Help topics

“Dock, group, or float panels” on page 6

Save, reset, or delete 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 choose Window > Workspace > New Workspace. Type a name

for the workspace, and click

OK.

Note: (After Effects, Premiere Pro, Encore) If a project saved with a custom workspace is opened on another system, the application looks for a workspace with a matching name. If it can’t find a match (or the monitor configuration doesn’t match), it uses the current local workspace.

Reset a workspace

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

❖ Choose Window > Workspace > Reset workspace name.

Delete a workspace

1 Choose Window > Workspace >Delete Workspace.

2 Choose the workspace you want to delete, and then click OK.

Note: You cannot delete the currently active 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.

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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.

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. In Adobe Premiere Pro CS5, do the following.

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.

In Adobe Premiere Pro CS5.5 and later, to maximize a selected panel you can choose 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 command is mapped to a key other than the accent key. The key for Maximize Or Restore Frame is listed in the Keyboard Customization 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.

More Help topics

“Find keyboard shortcuts” on page 451

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.

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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.

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.

. However, the Selection

Toolbox 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

“Select one or more clips” on page 197.

all 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” on page 197 and “Delete all clips on one track” on

page 204.

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

“Making rolling and ripple edits” on page 187 or this video tutorial about the Ripple Edit Tool by

Andrew Devis

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

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” on page 187 or this video

tutorial about the Rolling Edit Tool by Andrew Devis.

Rate Stretch Tool Select this tool to shorten a clip in a Timeline by speeding up its playback, or to lengthen it by

slowing it down. The Rate Stretch Tool changes speed and duration, but leaves the In and Out points of the clip

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unchanged. For more information about using the Rate Stretch Tool, see “Change clip speed and duration with the

Rate Stretch tool” on page 300 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 tool” on page 201 or 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” on page 191 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” on page 191 or this video

about the Slide Tool 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” on page 420.

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” on page 136.

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.

Video Indicates frame rate, frame size, and pixel aspect ratio, in that order.

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Audio Indicates sample rate, bit depth, and channels, in that order.

Tape Indicates the name of the tape.

In Indicates the In point timecode of the selected clip.

Out Indicates the Out point timecode of the selected clip.

Duration Indicates 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.

The Info panel A. Name of selected clip B. Data for selected clip C. Tape name D. Sequence timecode locations of clip Start and End points E. Name of active sequence F. Source timecode location in selected clip of current-time indicator G. Source timecode location in clips on video tracks of currenttime indicator H. 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” on page 15.

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Preferences

Change preferences

You can customize the look and behavior of Premiere Pro, from determining the default length of transitions to setting the brightness of the user interface. Most of these preferences remain in effect until you change them. The preferences you set for scratch disks, however, are saved with your projects. Whenever you open a project, it automatically defaults to the scratch disks you selected for it when you set up that project.

• To open the Preferences dialog box, choose Edit > Preferences (Windows) or Premiere Pro > Preferences (Mac

OS), and select the category of preferences you wish to change.

• To restore default preference settings, hold down Alt (Windows) or Option (Mac OS) while the application is

starting. You can release the Alt key or Option key when the splash screen appears.

• To restore default preference settings and plug-in cache at the same time, hold down Shift-Alt (Windows) or Shift-

Option (Mac OS) while the application is starting. Release the Shift-Alt keys or Shift-Option key when the splash screen appears.

Preferences are stored in the following location:

• For Windows: <drive>\Users\<username>\AppData\Roaming\Adobe\Adobe Premiere Pro

• For Mac OS: <drive>/Users/<username>Library/Preferences/com.adobe.AdobePremierePro.plist

This excerpt from the Adobe Premiere Pro Classroom in a Book explains how to set up projects, sequences, and preferences when getting started with Premiere Pro. See

Assets in Adobe Premiere Pro CS5.

Selecting Settings, Adjusting Preferences, and Managing

General preferences

In the General pane of the Preferences dialog box, you can customize settings for everything from playback preroll duration to bin behaviors.

• Preroll and postroll are the amount of seconds before and after an edit point when playing back footage for a

number of editing functions, like using the Trim Monitor.

• You can specify whether Adobe Premiere Pro, by default, displays timeline playback by page scroll, by smooth

scroll, or no scroll. In page scrolling, each new view of the timeline appears after the playhead moves offscreen. In smooth scrolling, the playhead remains in the middle of the screen, while the clips and time ruler move by.

• You can specify whether Adobe Premiere Pro, by default, shows clip keyframes, clip volume, handles, keyframes,

track keyframes, track volume, or to hide keyframes for audio tracks. Select the desired option from the New Timeline Audio Tracks menu.

• You can specify whether Adobe Premiere Pro, by default, shows opacity handles, keyframes, or neither for video

tracks. Select the desired option from the New Timeline Video Tracks menu.

More Help topics

“Play a sequence or clip with preroll and postroll pauses” on page 127

“Specify and apply default transitions” on page 334

“Change the default duration for still images” on page 299

“Scroll a sequence during preview” on page 207

“Set the default keyframe display of video tracks” on page 141

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“Set the default keyframe display of audio tracks” on page 141

“Render audio when rendering video” on page 206

“Scale assets” on page 294

“Change bin behaviors” on page 107

“Specify whether to render audio when rendering video” on page 47

Appearance preferences

In the Appearance pane of the Preferences dialog box, you can set the overall brightness of the user interface.

More Help topics

“Brighten or darken the interface” on page 10

Audio Preferences

Automatch Time The Automatch Time preference specifies the time, in the Audio Mixer, for any control that has been

adjusted to return to its previous setting. Affected controls are Volume, Pan, Effect and Send parameter knobs in Audio, Submix and (except sends) Master track. Automatch Time preference affects properties in Touch mode, and in Read mode for effects with keyframes.

5.1 Mixdown Type Specifies how Premiere Pro mixes source channels to 5.1 audio tracks.

Mute Input During Timeline Recording Check this box to prevent monitoring of the audio inputs while recording the

timeline.

Default Track Format Defines the type of track in which the clip audio channels are presented when a clip is added to

a sequence—Mono, Stereo, Mono As Stereo, or 5.1.

• Mono Maps the source audio channels so that they’re placed on separate mono audio tracks. For example, when

you select Mono from the Default Track Format menu, Premiere Pro maps each source channel to a separate mono track on capture or import. If you capture from a stereo source with this setting, Premiere Pro maps each of the source channels to a separate monaural track. You can apply the Mono track format to clips containing any number of audio channels. Importing a file containing 5.1 channels maps them to six audio tracks. When you add the clip to the sequence, the clips on the separate mono tracks remain linked together.

• Stereo Maps the source audio channels so that paired channels are placed on stereo audio tracks. You can apply

the Stereo track format to clips containing any number of audio channels. If the clip doesn’t contain an even number of channels, a silent channel is created. The silent channel is paired with the unpaired channel when the clip is added to a sequence.

• Mono As Stereo Maps the source audio channels so each is placed on a stereo audio track. Premiere Pro duplicates

the audio from each mono source channel and places it in the left and right channels of a stereo track. You can apply the Mono As Stereo format to clips containing any number of audio channels.

• 5.1 Maps the source audio channels so that one or more groups of six channels are placed into separate 5.1

surround audio tracks. If the number of source channels is not a multiple of six, Premiere Pro creates a 5.1 surround audio track with silence on one or more channels.

Linear Keyframe Thinning Creates keyframes only at points that don’t have a linear relationship to the start and end

keyframes. For example, suppose you are automating a fade from 0 dB to –12 dB. With this option selected, Premiere Pro creates keyframes only at the points that represent an increase in value from the beginning (0 dB) and ending (– 12 dB) keyframes. If you don’t select this option, Premiere Pro may create several incremental keyframes of identical

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values between those two points, depending on the speed at which you change the value. This option is selected by default.

Minimum Time Interval Thinning Creates keyframes only at intervals larger than the value you specify. Enter a value

between 1 and 2000 milliseconds.

More Help topics

“Set Automatch Time for Touch mode and Read mode” on page 241

“Specify automated keyframe creation” on page 242

“Downmixing to fewer channels” on page 248

“Specify whether to play audio while scrubbing” on page 234

“Mute input during recording” on page 234

“Mapping source and output audio channels” on page 221

“Specify automated keyframe creation” on page 242

Audio Hardware preferences

In the Audio Hardware pane of the Preferences dialog box, you specify the computer audio device and settings, including the ASIO settings (Windows only), or buffer size setting (Mac OS only) that Premiere Pro uses for recording audio.

More Help topics

“Preparing the audio input channel for recording” on page 232

“Specify the default audio device” on page 46

“Specify ASIO device settings (Windows only)” on page 47

Audio Output Mapping preferences

In the Audio Output Mapping pane of the Preferences dialog box, you specify the target speaker in your computer sound system for each supported audio channel.

Note: Adobe Audition users will need to use Audio Output Mapping preferences to that 5.1 clips will output Ls, Rs, C, and LFE channels in the same order as Audition.

More Help topics

“Map sequence audio channels to audio output device hardware channels” on page 223

Change the Auto Save settings

By default, Premiere Pro automatically saves your project every 20 minutes and retains the last five versions of the project file on the hard disk. You can revert to a previously saved version at any time. Archiving many iterations of a project consumes relatively little disk space because project files are much smaller than source video files. It’s best to save project files to the same drive as your application. Archived files are saved in the Premiere Pro Auto-Save folder.

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

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

• Select Automatically Save Projects, and type the number of minutes you would like between saves.

• For Maximum Project Versions, enter the number of versions of a project file you want to save. For example, if you

type 10, Premiere Pro saves the ten most recent versions.

3 Click OK.

Note: Premiere Pro will only execute an auto save when there are unsaved changes in the currently opened project. This also applies when the program is in the background or minimized. The potential consequence for leaving a project open with unsaved changes for a long enough period of time is that eventually all of the auto save versions will become identical, wiping out potentially useful versions to roll back to. Adjust this preference according to your workflow or close Premiere Pro when you will be working on other applications for an extended period of time.

Capture preferences

Controls how Premiere Pro transfers video and audio directly from a deck or camera. (None of the other project settings options affect capturing.) The contents of this panel depend on the editing mode. If you’re capturing DV footage, use the default DV capture settings. When DV/IEEE 1394 Capture is the selected capture format, no options are available because the options are automatically set to the IEEE 1394 standard. Additional capture formats and options appear if you install other software, such as software included with a capture card certified to be compatible with Premiere Pro.

Note: For P2 DVCPRO 50 and P2 DVCPRO HD projects, the Capture Format setting is not relevant, because the assets are captured and recorded directly to the P2 card as digital files by the camera.

More Help topics

“Set up a project for device control” on page 81

Device Control preferences

In the Device Control pane of the Preferences dialog box, you specify the settings Premiere Pro uses to control a playback/recording device, such as a VTR or camcorder.

More Help topics

“Set up a device for device control” on page 82

Label Colors preferences

In the Label Colors pane of the Preferences dialog box, you can change the default colors and color names. You can label assets with these colors and color names in the Project panels.

More Help topics

“Label assets” on page 107

Label Defaults preferences

In the Label Defaults pane of the Preferences dialog box, you can change the default colors assigned to bins, sequences, and different types of media.

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More Help topics

“Label assets” on page 107

Media preferences

Indeterminate Media Timebase Specifies the framerate for imported still-image sequences.

Timecode Specifies whether Premiere Pro shows the original timecode imported clips, or assigns new timecode to

them, starting at 00:00:00.

Frame Count Specifies whether Premiere Pro assigns a 0, or a 1 to the first frame of an imported clip, or assigns a

number by timecode conversion.

Write XMP ID To Files On Import Check this box to write ID information into XMP metadata fields.

Enable Clip And XMP Metadata Linking Check this box to link clip metadata to XMP metadata, so that changing one

changes the other.

More Help topics

“Move or clean the Media Cache Database” on page 49

“Choose timecode display format” on page 98

“Ensure that Adobe video applications use the same cached files” on page 208

“About the Metadata panel in Premiere Pro” on page 113

Memory preferences

In the Memory pane of the Preferences dialog box, you can specify the amount of RAM reserved for other applications, and for Premiere Pro. For example, as you reduce the amount of RAM reserved for other applications, the amount of RAM left available for Premiere Pro increases.

Some sequences, such as those containing high-resolution source video or still images, require large amounts of memory for the simultaneous rendering of multiple frames. These assets can force Premiere Pro to cancel rendering and to give a Low Memory Warning alert. In these cases, you can maximize the available memory by changing the Optimize Rendering For preference from Performance to Memory. Change this preference back to Performance when rendering no longer requires memory optimization.

More Help topics

“Optimize rendering for available memory” on page 50

Player Settings preferences

In the Player Settings pane of the Preferences dialog box, you can select the default player. Premiere Pro uses the player to play media from clips and sequences for the following:

• Source Monitor

• Program Monitor

• the preview area at the top of the Project panel

• Trim Monitor

• Multi-Camera Monitor

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• the video transition preview in the Effect Controls panel.

You can choose the default player for your computer, or a third-party plug-in player for Premiere Pro. Third-party players are installed with some capture cards.

Titler preferences

In the Titler pane of the Preferences dialog box, you can change the letters Premiere Pro shows in the Titler Style Swatches panel and in the font browser.

More Help topics

“Specify the characters in the Title Styles panel” on page 272

“Change the letters that appear in the Font Browser” on page 257

Trim preferences

The Trim Monitor includes Large Trim Offset buttons. Clicking one of these buttons moves a trim point earlier or later. In the Trim pane of the Preferences dialog box, you can specify the number of frames that the Large Trim Offset buttons move trim points.

More Help topics

“Make a rolling edit using the Trim Monitor” on page 189

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Chapter 3: Workflows and setup

Basic workflow

The steps you take in editing video, from import or capture through final output, make up your workflow. The basic workflow describes the most general steps you would take with most projects. Specific types of workflows, such as the P2 workflow or the cross-platform workflow, explain the noteworthy settings, variations, or issues specific to each type.

Reviewing the entire workflow for a production before creating a project and first sequence can help you optimize Adobe Premiere Pro for the needs of that production. It can also help you plan for the special needs your production has at any particular step. For example, if you learn, before you begin, the parameters of your footage, you can select the best sequence presets for your production.

For resources relating to optimizing your computer system, your workflow, and Premiere Pro so that you can get the most done in the least time

Whether you use Adobe Premiere Pro to edit video for broadcast, DVD, or the web, you’re likely to follow a workflow like the one outlined below. For Adobe recommended tutorials on basic workflow, scroll to the bottom of this page.

see this blog post on the After Effects Region of Interest.

Before you begin editing

Before you begin editing in Premiere Pro, you will need footage to work with. You can either shoot your own footage, or work with footage that other people have shot. You can also work with graphics, audio files, and more.

Many projects you work on do not need a script. However, sometimes you work from or write a script, especially for dramatic projects. You can write your script and organize your production details with

While you shoot, organize your shots and take log notes. You can also adjust and monitor footage as you shoot, capturing directly to a drive. For capturing to a drive, use

It is important to note that using Adobe Story or Adobe OnLocation are not necessary for editing with Adobe Premiere Pro. Writing a script, and making notes on the set are optional steps to help organize a project before you get started.

Get started editing

After you have acquired footage, follow the steps to get started editing with Premiere Pro.

1. Start or open a project

Open an existing project, or start a new one from the Premiere Pro Quickstart screen. If you are starting a new project, the New Project dialog launches. From the New Project dialog, you can specify the name and location of the project file, the video capture format, and other settings for your project. (See

Adobe OnLocation.

“Creating and changing projects” on page 51.)

Adobe Story.

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Quickstart screen

If you are starting a new project, the New Sequence dialog will appear after you have exited the New Project dialog. Choose the one that matches the settings of your footage.

• If you need help choosing a sequence preset, and are not sure of your settings, see this FAQ entry: “How do I choose

the right sequence settings.”

• For an overview of the Premiere Pro workflow, see this video from Video2Brain and Learn by Video, presented by

Maxim Jago.

• To get started editing quickly with Premiere Pro, see this video from Video2Brain and Learn by Video, presented

by Maxim Jago.

2. Capture and import video and audio

For file-based assets, using the Media Browser you can import files from computer sources in any of the leading media formats. Each file you capture or import automatically becomes a clip in the Project panel.

Alternatively, using the Capture panel, capture footage directly from a camcorder or VTR. With the proper hardware, you can digitize and capture other formats, from VHS to HDTV.

Optionally, if you import an Adobe OnLocation project into Premiere Pro, metadata from Adobe OnLocation makes it easy to create a preliminary rough cut. Use Speech Search to synchronize the script to footage, and then edit based on the dialogue transcript.

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Project panel and Capture panel

You can also import various digital media, including video, audio, and still images. Premiere Pro also imports Adobe® Illustrator® artwork or Photoshop® layered files, and it translates After Effects® projects for a seamless, integrated workflow. You can create synthetic media, such as standard color bars, color backgrounds, and a countdown. (See “About capturing and digitizing” on page 78.)

You can also use Adobe® Bridge to organize and find your media files. Then use the Place command in Adobe Bridge to place the files directly into Premiere Pro.

In the Project panel, you can label, categorize, and group footage into bins to keep a complex project organized. You can open multiple bins simultaneously, each in its own panel, or you can nest bins, one inside another. Using the Project panel Icon view, you can arrange clips in storyboard fashion to visualize or quickly assemble a sequence.

Note: Before capturing or importing audio, ensure that Preferences>Audio>Default Track Format is set to match the desired channel format.

3. Assemble and refine a sequence

Using the Source Monitor, you can view clips, set edit points, and mark other important frames before adding clips to a sequence. For convenience, you can break a master clip into any number of subclips, each with its own In and Out points. You can view audio as a detailed waveform and edit it with sample-based precision. (See

“Source Monitor and

Program Monitor overview” on page 122.)

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Source Monitor, Program Monitor, and Timeline panel

You add clips to a sequence in a Timeline panel by dragging them there or by using the Insert or Overwrite buttons in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel. You can view the edited sequence in the Program Monitor or watch the full-screen, full-quality video on an attached television monitor. (See

“Timeline panels” on page 136 and “Adding clips to a sequence” on page 172.)

Refine the sequence by manipulating clips in a Timeline panel, with either context-sensitive tools or tools in the Tools panel. Use the specialized Trim Monitor to fine-tune the cut point between clips. By nesting sequences—using a sequence as a clip within another sequence—you can create effects you couldn’t achieve otherwise.

4. Add titles

Using the Premiere Pro full-featured Titler, create stylish still titles, title rolls, or title crawls that you can easily superimpose over video. If you prefer, you can modify any of a wide range of provided title templates. As with any clip, you can edit, fade, animate, or add effects to the titles in a sequence. (See

“Titling and the Titler” on page 252.)

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Titler

5. Add transitions and effects

The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s motion, opacity, and Variable Rate Stretch using the Effect Controls panel. The Effect Controls panel also lets you animate a clip’s properties using traditional keyframing techniques. As you adjust transitions, the Effect Controls panel displays controls designed especially for that task. Alternatively, you can view and adjust transitions and a clip’s effect keyframes in a Timeline panel. (See

“Transition overview: applying transitions” on

page 330 and “Apply effects to clips” on page 279.)

Effects panel in filtered view, Effect Controls panel, and Program Monitor

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6. Mix audio

For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Premiere Pro saves your adjustments in real time. With a supported sound card, you can record audio through the sound mixer, or mix audio for 5.1 surround sound. (See

“Mixing audio tracks

and clips” on page 217.)

Audio Mixer

7. Export

Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file. Using the Adobe Media Encoder, you can customize the settings for MPEG-2, MPEG-4, FLV, and other codecs and formats, to the needs of your viewing audience. (See

“Types of exporting” on page 435.)

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Export Settings dialog box and Encore New Project dialog box

More Help topics

“Import clips from Adobe OnLocation projects using the Media Browser” on page 72

What is Premiere Pro? on Adobe TV

The Basic Premiere Pro workflow on Adobe TV

Cross-platform workflow

You can work on a project across computer platforms. For example, you can start on Windows and continue on Mac OS. A few functions change, however, as the project moves from one platform to the other.

Sequence settings You can create a project on one platform and then move it to another. Premiere Pro sets the

equivalent sequence settings for the second platform, if there is an equivalent. For example, you can create a DV project containing DV capture and device control settings on Windows. When you open the project on Mac OS, Premiere Pro sets the appropriate Mac DV capture and device control settings. Saving the project saves these Mac OS settings. Premiere Pro translates these settings to Windows settings if the project is later opened on Windows.

Effects All video effects available on Mac OS are available in Windows. Windows effects not available on the Mac

appear as offline effects if the project is opened on the Mac. These effects are designated “Windows only” in Premiere Pro Help. All audio effects are available on both platforms. Effect presets work on both platforms (unless the preset applies to an effect not available on a given platform).

Adobe Media Encoder presets Presets created on one platform are not available on the other.

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Preview files Preview files made on one platform are not available on the other. When a project is opened on a

different platform, Premiere Pro rerenders the preview files. When that project is then opened on its original platform, Premiere Pro renders the preview files yet again.

High-bit-depth files Windows AVI files containing either 10-bit 4:2:2 uncompressed video (v210), or 8-bit 4:2:2

uncompressed video (UYVU) are not supported on Mac OS.

Preview rendering The playback quality of unrendered non-native files is not as high as playback quality of these files

on their native platforms. For example, AVI files do not play back as well on Mac OS as they do on Windows. Premiere Pro renders preview files for non-native files on the current platform. Premiere Pro always renders preview files in a native format. A red bar in the timeline indicates which sections contain files needing rendering.

Cross-application workflows

You can use various other Adobe applications to enhance or modify the assets used in a Premiere Pro project. Also, you can use Premiere Pro to edit projects begun in other applications.

Edit a clip in its original application

In Premiere Pro, the Edit Original command opens clips in the applications associated with their file types. You can edit clips in the associated applications. Premiere Pro automatically incorporates the changes into the current project without replacing files. Similarly, Premiere Pro sequences placed in other applications, such as Adobe After Effects can be opened with the host product’s Edit Original command.

1 Select a clip in either the Project panel or Timeline panel.

2 Choose Edit > Edit Original.

You can export a movie from Premiere Pro with the data necessary for the Edit Original command. In the Export Movie Settings dialog box, choose Project from the Embedding options menu.

Working with Photoshop and Premiere Pro

If you use Photoshop to create still images, you can use Premiere Pro to make them move and change. You can animate an entire image or any of its layers.

You can edit individual frames of video and image sequence files in Photoshop. In addition to using any Photoshop tool to edit and paint on video, you can also apply filters, masks, transformations, layers styles, and blending modes. You can paint using the Clone Stamp, Pattern Stamp, Healing Brush, or Spot Healing Brush. You can also edit video frames using the Patch tool.

In Photoshop, with the Clone Stamp, you can sample a frame from a video layer and paint with the sampled source onto another video frame. As you move to different target frames, the source frame changes relative to the frame from which you initially sampled.

After making edits, you can save the video as a PSD file, or you can render it as a QuickTime movie or image sequence. You can import any of these back into Premiere Pro for further editing.

If you use Premiere Pro to create movies, you can use Photoshop to refine the individual frames of those movies. In Photoshop, you can do any of the following:

• Remove unwanted visual elements.

• Draw on individual frames.

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• Use the superior selection and masking tools to divide a frame into elements for animation or compositing.

Online resources for Premiere Pro and Photoshop workflow

• Franklin McMahaon provides a video tutorial that demonstrates creating a title in Photoshop for use in Premiere

in this video tutorial from Layers Magazine.

Pro

• This Premiere Pro tutorial video by Phil Hawkins at Infinite Skills shows how to import files between Photoshop

and Premiere Pro.

• Jarle Leirpoll shows how to automate production of lower thirds with Photoshop and Premiere Pro in this article

on the ProVideo Coalition website.

Comparative advantages for specific tasks

The strengths of Premiere Pro lie in its numerous video editing features. You can use it to combine Photoshop files with video clips, audio clips, and other assets. You can use the Photoshop files, for example, as titles, graphics, and masks.

In contrast, Photoshop has excellent tools for painting, drawing, and selecting portions of an image. The Photoshop Quick Selection tool and Magnetic Lasso tool make it easy to create a mask from a complex shape. Rather than handdrawing a mask in Premiere Pro, consider doing this work in Photoshop. Similarly, if you are applying several paint strokes by hand to get rid of dust, consider using the Photoshop paint tools.

The animation and video features in Photoshop Extended include simple keyframe-based animation. Premiere Pro, however, provides quite a bit more keyframe control over various properties.

Exchanging still images

Premiere Pro can import and export still images in many formats. For greatest versatility, however, use the native Photoshop PSD format when transferring individual frames or still image sequences from Photoshop to Premiere Pro.

When you import a PSD file into Premiere Pro, you can choose whether to import it as a flattened image, or with its layers separate and intact.

It is often a good idea to prepare a still image in Photoshop before importing it into Premiere Pro. Examples of such preparation include correcting color, scaling, and cropping. It is often better to change a source image in Photoshop than to have Premiere Pro perform the same operation many times per second as it renders each frame for previews or final output.

In Photoshop, you can create a PSD document that is set up correctly for a specific video output type. From the New File dialog box, select a Film & Video preset. In Premiere Pro, you can create a PSD document that matches your composition and sequence settings. Choose File > New > Photoshop File.

Exchanging movies

You can also exchange video files, such as QuickTime movies, between Photoshop and Premiere Pro. When you open a movie in Photoshop, a video layer is created that refers to the source footage file. Video layers allow you to paint nondestructively on the movie’s frames. When you save a PSD file with a video layer, Photoshop saves the edits that you made to the video layer. Photoshop does not save edits made to the source footage itself.

You can also render a movie directly from Photoshop. For example, you can create a QuickTime movie from Photoshop that can then be imported into Premiere Pro.

Color

Premiere Pro works internally with colors in an RGB (red, green, blue) color space. If you want to edit video clips you create in Photoshop in Premiere Pro, create the clips in RGB.

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If you want to broadcast the final movie it is best to ensure, in Photoshop, that the colors in your image are broadcastsafe. Assign the appropriate destination color space—for example, SDTV (Rec. 601)—to the document in Photoshop.

More Help topics

Import 3D layers from Photoshop

Create and edit Photoshop files

You can create a still Photoshop file that automatically inherits the pixel and frame aspect ratio settings of your Premiere Pro project. You can also edit any still image file in a Premiere Pro project in Photoshop.

Create a Photoshop file in a project

❖ Choose File > New > Photoshop File.

Photoshop opens with a new blank still image. The pixel dimensions match the project’s video frame size, and image guides show the title-safe and action-safe areas for the project.

Edit a still image file in Photoshop

From within a project, you can open an image file in most formats that Adobe Photoshop supports. Premiere Pro does not import files in CMYK or LAB color formats.

1 Select a still-image clip in either the Project panel or Timeline panel.

2 Choose Edit > Edit In Adobe Photoshop.

The file opens in Photoshop. When you save the file, changes are available in the Premiere Pro project.

More Help topics

“Export a still image” on page 441

Copy between After Effects and Adobe Premiere Pro

• From the After Effects Timeline panel, you can copy layers based on audio or video footage items (including solids)

and paste them into the Adobe Premiere Pro Timeline panel.

• From the Adobe Premiere Pro Timeline panel, you can copy assets (any items in a track) and paste them into the

After EffectsTimeline panel.

• From either After Effects or Adobe Premiere Pro, you can copy and paste footage items to the other’s Project panel.

Note: You can’t, however, paste footage items from the After Effects Project panel into the Adobe Premiere Pro Timeline panel.

If you want to work with all clips or a single sequence from an AdobePremiere Pro project, use the Import command instead to import the project into After Effects.

Use Adobe Dynamic Link to create dynamic links, without rendering, between new or existing compositions in After Effects and Adobe Premiere Pro. (See “About Dynamic Link (Production Premium or Master Collection only)” on

page 36.)

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Copy from After Effects to Adobe Premiere Pro

You can copy a layer based on a footage item from an After Effects composition and paste it into an Adobe Premiere Pro sequence. Adobe Premiere Pro converts these layers to clips in the sequence and copies the source footage item to its Project panel. If the layer contains an effect that is also used by AdobePremiere Pro, Adobe Premiere Pro converts the effect and all of its settings and keyframes.

You can also copy nested compositions, Photoshop layers, solid-color layers, and audio layers. Adobe Premiere Pro converts nested compositions to nested sequences, and solid-color layers to color mattes. You cannot copy shape, text, camera, light, or adjustment layers to Adobe Premiere Pro.

1 Start Adobe Premiere Pro (you must start AdobePremiere Pro before you copy the layer in After Effects).

2 Select a layer (or layers) from the After Effects Timeline panel.

Note: If you select multiple layers and the layers don’t overlap in After Effects, they’re placed on the same track in AdobePremiere Pro. On the other hand, if the layers overlap in After Effects, the order in which you select them determines the order of their track placement in Adobe Premiere Pro. Each layer is placed on a separate track, and the last selected layer appears on Track 1. For example, if you select layers from top to bottom, the layers appear in the reverse order in Adobe Premiere Pro, with the bottom-most layer on Track 1.

3 Choose Edit > Copy.

4 In Adobe Premiere Pro, open a sequence in the Timeline panel.

5 Move the current-time indicator to the desired location, and choose either Edit > Paste or Edit > Paste Insert.

Results of pasting into Adobe Premiere Pro

When you paste a layer into an Adobe Premiere Pro sequence, keyframes, effects, and other properties in the copied layer are converted as follows:

After Effects item Converted to in Adobe Premiere Pro Notes

Audio volume property Channel Volume filter

Blending modes Blending modes supported by

Effect properties and keyframes Effect properties and keyframes, if the

Expressions Not converted

Layer markers Clip markers

Masks and mattes Not converted

Stereo Mixer effect Channel Volume filter

Time Remap property Time Remapping effect

Premiere Pro are converted

Adobe

effect also exists in Adobe Premiere Pro

Adobe Premiere Pro lists unsupported effects as offline in the Effect Controls panel. Some After Effects effects have the same names as those in Adobe Premiere Pro, but since they’re actually different effects, they aren’t converted.

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After Effects item Converted to in Adobe Premiere Pro Notes

Time Stretch property Speed property Speed and time stretch have an

Transform property values and keyframes

Source settings for R3D source files

Motion or Opacity values and keyframes

Source settings for R3D source files

inverse relationship. For example, 200% stretch in After Effects converts to 50% speed in Adobe Premiere Pro.

The keyframe type—Bezier, Auto Bezier, Continuous Bezier, or Hold—is retained.

Copy from Adobe Premiere Pro to After Effects

You can copy a video or audio asset from anAdobe Premiere Pro sequence and paste it into an After Effects composition.After Effects converts assets to layers and copies the source footage items into its Project panel. If the asset contains an effect that is also used by After Effects, After Effects converts the effect and all of its settings and keyframes.

You can copy color mattes, stills, nested sequences, and offline files, too. After Effectsconverts color mattes into solidcolor layers and converts nested sequences into nested compositions. When you copy a Photoshop still image intoAfter Effects, After Effects retains the Photoshop layer information. You cannot paste Adobe Premiere Pro titles into After Effects, but you can paste text with attributes from the Adobe Premiere Titler into After Effects.

1 Select an asset from the Adobe Premiere Pro Timeline panel.

2 Choose Edit > Copy.

3 In After Effects, open a composition in the Timeline panel.

4 With the Timeline panel active, choose Edit > Paste. The asset appears as the topmost layer in the Timeline panel.

Note: To paste the asset at the current-time indicator, place the current-time indicator and press Ctrl+Alt+V (Windows) or Command+Option+V (Mac OS).

Results of pasting into After Effects

When you paste an asset into an After Effectscomposition, keyframes, effects, and other properties in a copied asset are converted as follows:

Adobe Premiere Pro asset Converted to in After Effects Notes

Audio track Audio layers Audio tracks that are either 5.1 surround

Bars and tone Not converted

Blending modes Converted

Clip marker Layer marker

Color mattes Solid-color layers

Crop filter Mask layer

Frame Hold Time Remap property

Motion or Opacity values and keyframes

Transform property values and keyframes

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or greater than 16-bit aren’t supported. Mono and stereo audio tracks are imported as one or two layers.

Keyframe type—Bezier, Auto Bezier, Continuous Bezier, or Hold—is retained.

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Adobe Premiere Pro asset Converted to in After Effects Notes

Sequence marker Markers on a new solid-color layer To copy sequence markers, you must

Speed property Time Stretch property Speed and time stretch have an inverse

Time Remapping effect Time Remap property

Titles Not converted

Universal counting leaders Not converted

Video and audio transitions Opacity keyframes (Cross dissolve

Video effect properties and keyframes

Volume and Channel Volume audio filters

Source settings for R3D source files Source settings for R3D source files

only) or solid-color layers

Effect properties and keyframes, if the effect also exists in After Effects

Stereo mixer effect Other audio filters are not converted.

either copy the sequence itself or import the entire Adobe Premiere Proproject as a composition.

relationship. For example, 50% speed in Adobe Premiere Pro is converted to 200% stretch in After Effects.

After Effects doesn’t display unsupported effects in the Effect Controls panel.

Note: When you import a Premiere Pro project into After Effects, features are converted in the same manner as they are converted when copying from Premiere Pro to After Effects.

Working with Adobe Premiere Pro and Adobe Flash

Adobe Premiere Pro is a professional tool for editing video. If you use Adobe Flash Professional to design interactive content for websites or mobile devices, you can use Adobe

Premiere Pro gives you professional tools for frame-accurate video editing, including tools for optimizing

Adobe

Premiere Pro to edit the movies for those projects.

video files for playback on computer screens and mobile devices.

Adobe Flash Professional is a tool for incorporating video footage into presentations for the web and mobile devices. Adobe Flash offers technological and creative benefits that let you fuse video with data, graphics, sound, and interactive control. The FLV and F4V formats let you put video on a web page in a format that almost anyone can view.

You can export FLV and F4V files from Adobe Premiere Pro. You can embed those files into interactive websites or applications for mobile devices with Adobe Flash. Adobe Flash can import sequence markers you add in an

Premiere Pro sequence as cue points. You can use these cue points to trigger events in SWF files on playback.

Adobe

If you export video files in other standard formats, Adobe Flash can encode your videos within rich media applications. Adobe Flash uses the latest compression technologies to deliver the greatest quality possible at small file sizes.

Working with Adobe Story, Adobe OnLocation, and Adobe Premiere Pro

You can script shots in Adobe Story, shoot them in Adobe OnLocation, and edit them in Premiere Pro, carrying time saving XMP metadata from each step into the next.

You can also attach an Adobe Story script directly to clips to improve speech analysis. See “Improve speech analysis

with Adobe Story scripts (CS5.5 and later)” on page 197.

Karl Soule talks about OnLocation CS5’s new ability to support tapeless workflows on set and shows you how to quickly create a rough cut edit using OnLocation and Premiere Pro

in this video.

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More Help topics

Understanding the script to screen workflow

Record direct to disk: from Adobe OnLocation to Adobe Premiere Pro

“Import clips from Adobe OnLocation projects using the Media Browser” on page 72

Import clips with In and Out points set in Adobe OnLocation

In Adobe OnLocation, you can set In and Out markers for clips. When you import a clip from an Adobe OnLocation project using the Media Browser, the imported master clip retains these In and Out markers. You can mark the good portions of clips in Adobe OnLocation, import them into Premiere Pro and start editing the good portions immediately.

Working with Encore and Premiere Pro

Using Adobe Encore and Adobe Premiere Pro, you can burn a single sequence to DVD or Blu-ray Disc. You can burn each sequence in your project to a separate DVD or Blu-ray Disc. First, add all the content you want to include on a disc into a sequence. After you edit the sequence, perform the following tasks:

Add Encore chapter markers

You can add Encore chapter markers in a Adobe Premiere Pro sequence. You can send the Encore chapter markers, along with the sequence to Encore.

In Encore, if you create an AutoPlay DVD, the Encore chapter markers become scene markers. When viewing the DVD, pressing the Previous button or Next button on the remote control skips backward or forward to the next of these markers. If you create a DVD or Blu-ray Disc with menus, you can link scene buttons on the menus to the Encore chapter markers.

Send to Encore or to an MPEG-2 file

You can send a whole sequence, or any portion of a sequence, from Adobe Premiere Pro to Encore. From Encore, you can burn the sequence directly to a DVD without menus, or add menus and buttons before burning. From Encore, you can export the project in any of the following forms:

• you can burn the project to disc,

• you can save the project to a DVD image file,

• you can save the project to a set of DVD folders,

• you can save the project to DVD master files on DLT tape.

• you can export the project to a SWF file for posting on the web.

Alternatively, using the MPEG2-DVD format, you can export a DVD-compliant MPEG-2 file from Adobe Premiere Pro. You can use the MPEG-2 file in most DVD-authoring applications.

Choose a menu template

Encore templates are predesigned menus that come in several styles. Buttons on the templates automatically link to chapter markers placed in the sequence. Encore creates additional submenus as necessary to accommodate all the chapter markers in a sequence.

Note: AutoPlay DVDs do not have menus. Do not choose a template for AutoPlay DVDs.

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Customize the menu template

Edit titles, change graphics, or add video for background in Encore. You can also use video in button thumbnails by specifying a section of a clip to play in the button.

Preview the disc

Check the functionality and the look of your DVD or Blu-ray Disc menus in the Preview DVD window.

Burn the disc

With a DVD or Blu-ray Disc burner installed or connected, you can burn your content to disc. You can save the compressed files to a folder for playback from a computer hard drive. You can also save an ISO image to distribute or burn to a DVD.

Note: Encore creates DVDs that conform to DVD-video format. It does not create data or audio DVDs.

More Help topics

“Transferring and importing files” on page 58

“Capturing content for DVD” on page 91

“Importing assets from tapeless formats” on page 65

“Exporting to DVD or Blu-ray Disc” on page 441

Working with Final Cut Pro and Adobe Premiere Pro

You can import Final Cut Pro project XML files into Premiere Pro. For more information, see “Importing XML project

files from Final Cut Pro” on page 74. You can export Premiere Pro project files as Final Cut Pro XML files.

For more information, see “Export a Final Cut Pro project XML file” on page 444.

For more information about workflows possible between Final Cut Pro and Premiere Pro, see Open workflows with

Final Cut Pro and Avid software.

Joost van der Hoeven provides a video tutorial on the Adobe website that demonstrates exchanging information between Final Cut Pro and Premiere Pro using XML projects.

See this page for several documents that make the transition from Final Cut Pro to Premiere Pro easier.

Note: An exported XML file from Premiere Pro can be imported into some versions of Final Cut Express, as well.

Working with Avid Media Composer and Premiere Pro

For information about the workflows possible between Premiere Pro and Avid Media Composer, see Open workflows

with Final Cut Pro and Avid software.

In this video tutorial from Premiere Pro CS5 for Avid editors, Maxim Jago presents the round-tripping workflow with

Avid Media Composer.

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Adobe Dynamic Link

About Dynamic Link (Production Premium or Master Collection only)

In the past, sharing media assets among post-production applications has required you to render and export your work from one application before importing it into another. This workflow was inefficient and time-consuming. If you wanted to change the original asset, you rendered and exported the asset again. Multiple rendered and exported versions of an asset consume disk space, and they can lead to file-management challenges.

Dynamic Link, a feature of Adobe Creative Suite Production Premium and Master Collection, offers an alternative to this workflow. You can create dynamic links between After Effects, Adobe Premiere Pro, and Encore. Creating a dynamic link is as simple as importing any other type of asset. Dynamically linked assets appear with unique icons and label colors to help you identify them. Dynamic links are saved in projects generated by these applications.

If you purchase Premiere Pro as a standalone product (which includes Adobe Media Encoder and Adobe Encore), Dynamic Link works betweenPremiere Pro, Adobe Media Encoder and Encore.

Changes you make in After Effects to a dynamically linked composition appear immediately in the linked clips in Adobe Premiere Pro or Encore. Changes you make to dynamically linked sequences in AdobePremiere Pro appear immediately in After Effects and Encore. You don’t have to render or save changes first.

Online resources about Dynamic Link

For a video tutorial introducing Dynamic Link, see the Adobe website.

John Dickinson provides a video tutorial on the Motionworks website that shows how to use Dynamic Link between After Effects and Premiere Pro and between After Effects and Encore.

Tim Kolb provides a video tutorial on the Adobe website that demonstrates the creation of an interactive DVD menu with Premiere Pro and Encore, using Dynamic Link.

Andrew Devis explains how to use Dynamic Link from aPremiere Pro user’s perspective in this video on the Creative

Cow website.

Learn more about Premiere Pro workflow for Dynamic Link in this video by Jason Levine.

Linking to and from Adobe Premiere Pro

You can send selected clips from Adobe Premiere Pro into After Effectsas a composition or nested composition, replacing the clips in AdobePremiere Pro with a dynamically linked composition.

With Dynamic Link, you can also send sequences from Adobe Premiere Pro into Encore for authoring to DVD, Bluray Disc, or SWF files.

In addition to using Dynamic Link, you can share content among applications in any of the following ways:

• copying and pasting between After Effects and Adobe Premiere Pro

• exporting After Effects projects to Adobe Premiere Pro

• using the Capture In Adobe Premiere Pro command in After Effects

• importing Adobe Premiere Pro projects into After Effects

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Linking to and from After Effects

When you dynamically link to an After Effects composition from AdobePremiere Pro or Encore, it appears in the host application Project panel. You can use the dynamically linked composition as you would any other asset. When you insert a linked composition into the host application timeline, a linked clip appears in the Timeline panel. A linked clip is simply a reference to the linked composition in the Project panel. After Effects renders the linked composition on a frame-by-frame basis during playback in the host application.

There are two restrictions on the use of dynamically linked clips betweenAfter Effects and Adobe Premiere Pro. Both of these restrictions also apply in reverse: they remain true if you switch composition and sequence:

• If a sequence contains a composition, do not include that sequence, or any sequence in which the sequence is

nested, in any dynamic link from the project of the included composition.

• If a sequence contains a composition, do not include links from that composition, or any composition nested in

that composition, back to any sequence.

In Adobe Premiere Pro, you can do any of the following with a dynamically linked After Effectscomposition:

• preview it in the Source Monitor

• set In and Out points for it

• add it to a sequence

• edit it with Adobe Premiere Pro tools

When you add a linked composition that contains both video and audio to a sequence, Adobe Premiere Pro inserts linked video and audio clips in the timeline. You can unlink the video from the audio to edit the clips separately.

In Encore, you can do any of the following with a dynamically linked After Effects composition:

• create a motion menu with it

• insert it into a timeline

• edit it with Encore tools

You can add a linkedAfter Effects composition that contains both video and audio to an Encore timeline. Encore inserts separate video and audio clips in the timeline.

You can create After Effectscompositions from Encore menus, even without Dynamic Link.

Linking to and from Encore

From Encore, you can do any of the following with dynamically linked clips:

• edit a sequence in Adobe Premiere Pro using the Edit Original command

• edit an After Effects composition using the Edit Original command

• update the markers in Encore to match the Encore chapter markers in a sequence in Adobe Premiere Pro

Color and Dynamic Link

After Effects works with the RGB (red, green, blue) color model. AdobePremiere Pro, however, works with the YUV color model. When you work with a dynamically linked composition, Adobe Premiere Pro either converts it to YUV or retains the RGB colors, depending on the output format.

Dynamically linked compositions are rendered in the color depth of the After Effects project (8, 16, or 32 bpc, depending on project settings). Set the After Effects project color depth to 32 bpc if you’re working with HDR (high dynamic range) assets.

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In Adobe Premiere Pro, select a sequence. Then, choose Sequence > Sequence Settings. In the Video Previews pane, select Maximum Bit Depth and Maximum Render Quality to haveAdobe Premiere Pro process at the highest possible

quality. However, these options slow processing.

Saving and Dynamic Link

Save your After Effects project at least once before creating a dynamic link from AdobePremiere Pro or Encore to a composition within it. After that, you do not have to save changes to the After Effects project to see the changes in a linked composition in Adobe Premiere Pro or Encore.

Using the Save As command to create a copy of an After Effects project does not change dynamic links made to the original project. AdobePremiere Pro and Encore projects continue to use the original project, not the copy, as the sources for their linked compositions. You can, however, relink a dynamically linked clip to a composition in the copy at any time.

Note: In After Effects, you can choose File > Increment And Save. The newly saved open project continues to serve frames to any client projects containing dynamically linked compositions from the open After Effects project.

Dynamic Link performance (Production Premium or Master Collection only)

A linked clip can refer to a complex source composition. Actions you perform on the complex source composition require additional processing time. After Effects takes time to apply the actions and make the final data available to Adobe Premiere Pro or Encore. In some cases, the additional processing time delays preview or playback.

To reduce playback delays, do one of the following:

• take the linked composition offline

• disable a linked clip to temporarily stop referencing a composition

• render the composition and replace the dynamically linked composition with the rendered file

If you commonly work with complex source compositions, try adding RAM or a faster processor.

Note: A linked After Effects composition will not support Render Multiple Frames Simultaneously multiprocessing. See

Improve performance by optimizing memory, cache, and multiprocessing settings.

Create and link to After Effects compositions with Dynamic Link (Production Premium or Master Collection only)

You can create After Effects compositions, and dynamically link to them, from Adobe Premiere Pro or Encore. You can also dynamically link to existing After Effects compositions from Adobe Premiere Pro or Encore.

Create a composition from clips in Adobe Premiere Pro

You can replace selected clips in Adobe Premiere Pro with a dynamically linked After Effects composition based on those clips. The new composition inherits the sequence settings from Adobe Premiere Pro.

1 In a sequence, select the clips you want in the composition.

2 Right-click any of the selected clips.

3 Select Replace With After Effects Composition.

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Create a dynamically linked composition from Adobe Premiere Pro or Encore

Creating a new dynamically linked composition from Adobe Premiere Pro or Encore launches After Effects.After Effects then creates a project and composition with the dimensions, pixel aspect ratio, frame rate, and audio sample rate of the originating project. (If After Effects is already running, it creates a composition in the current project.) The new composition name is based on theAdobe Premiere Pro or Encore project name, followed by Linked Comp [x].

1 In Adobe Premiere Pro or Adobe Encore, choose File > Adobe Dynamic Link > New After EffectsComposition.

2 If the After EffectsSave As dialog box appears, enter a name and location for the After Effects project, and click Save.

When you create a dynamically linked After Effects composition, the composition duration is set to 30 seconds. To change the duration, select the composition in After Effects, choose Composition > Composition Settings. Click the

Basic tab, and specify a new value for Duration.

Link to an existing composition

For best results, match composition settings (such as dimensions, pixel aspect ratio, and frame rate) to the settings in the Adobe Premiere Pro or Encore project.

❖ Do one of the following:

• In Adobe Premiere Pro or Encore, choose File > Adobe Dynamic Link > Import After Effects Composition. Choose

an After Effects project file (.aep), and then choose one or more compositions.

• In Adobe Premiere Pro or Encore, choose an After Effects project file and click Open. Then choose a composition

in the displayed dialog box and click OK.

• Drag one or more compositions from the After EffectsProject panel to the Adobe Premiere Pro Project panel or the

Encore Project panel.

• Drag an After Effects project file into the AdobePremiere Pro Project panel. If the After Effects project file contains

multiple compositions, the Import Composition dialog box opens.

Note: You can link to a single After Effects composition multiple times in a single Adobe Premiere Pro project. In an Adobe Encore project, however, you can link to an After Effects composition only once.

If you create a dynamically linked composition from Encore, turn off subpicture highlight layers in After Effects, so that you can control their display in Encore.

Dynamically linked After Effects compositions

Delete a dynamically linked composition or clip (Production Premium or Master Collection only)

You can delete a linked composition from an Encore project if the composition isn’t used in the project. You can delete a linked composition from an Adobe Premiere Pro project at any time, even if the composition is used in a project.

You can delete linked clips from the timeline of an Adobe Premiere Prosequence or from an Encore menu or timeline at any time.

❖ In Adobe Premiere Pro or Encore, select the linked composition or clip and press the Delete key.

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Modify a dynamically linked composition in After Effects (Production Premium or Master Collection only)

Use the Edit Original command in Adobe Premiere Pro or Encore to modify a linked After Effectscomposition. Once the composition is open in After Effects, you can change the composition without having to use the Edit Original command again.

1 Select the After Effects composition in the AdobePremiere Pro or Encore Project panel, or choose a linked clip in

the Timeline, and choose Edit > Edit Original.

2 Change the composition in After Effects. Then, switch back to Adobe Premiere Pro or Encore to view your changes.

The changes made in After Effects appear in Adobe Premiere Pro. Adobe Premiere Pro stops using any preview files rendered for the clip before the changes.

Note: You can change the name of the composition in After Effects after creating a dynamic link to it from

Premiere Pro. Adobe Premiere Pro does not update the linked composition name in the Project panel.

Adobe

Premiere Pro does retain the dynamic link, however.

Adobe

Create an After Effects composition from clips in Premiere Pro (Production Premium only)

You can replace a selection of clips in a sequence in Premiere Pro with an After Effects composition based on those clips. The composition inherits the sequence settings from Premiere Pro and maintains a dynamic link to After Effects. You can edit the composition in Premiere Pro or in After Effects.

1 In a sequence, select the clips you want in the composition.

2 Right-click any of the selected clips.

3 Select Replace With After Effects Composition.

More Help topics

Dynamic Link from Premiere Pro to After Effects

Offline compositions and Dynamic Link (Production Premium or Master Collection only)

Adobe Premiere Pro and Encore display dynamically linked compositions as offline in any of the following circumstances:

• You’ve renamed, moved, or deleted the After Effects project that contains the composition.

• You’ve purposely taken the composition offline.

• You’ve opened the project that contains the composition on a system on which Production Premium or Master

Collection isn’t installed.

• You’re working with a project trimmed by the Adobe Premiere Pro Project Manager. Project Manager does not

move the After Effectssource compositions to the trimmed project folder. Move the composition manually.

Offline compositions appear with an Offline icon in the Adobe Premiere Pro Project panel. In Encore, the thumbnail preview displays the Offline icon when an offline asset is selected in the Project panel. If you’re working with an offline composition, you can relink it to the original After Effects composition. You can also choose to relink a linked composition to a different source composition.

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Take a dynamically linked composition offline

If you are experiencing jerky playback, you can take a dynamically linked composition offline. Also, you can share your project without having to open it on a system with Production Premium or Master Collection installed. You can take a dynamically linked composition offline. When you take a composition offline, you sever the dynamic link with After Effects. The linked composition is replaced in the Project panel with an offline composition.

You can temporarily suppress a linked clip in Adobe Premiere Pro by selecting the clip and choosing Clip > Enable. To relink the clip, choose Clip > Enable again (a check mark next to the command indicates that the clip is enabled).

1 In Premiere Pro, select the composition in the Project panel.

2 Choose Project > Make Offline.

Relink a dynamically linked composition

❖ Do one of the following:

• In Adobe Premiere Pro, select the composition and choose Project > Link Media. In thedisplayed dialog box, select

an After Effects project. Adobe Premiere Pro automatically relinks the composition.

• In Encore, right-click the composition and choose Locate Asset. In the Locate Asset dialog box, locate the

composition you want to link to, and then click Select (Windows) or Open (Mac OS).

Setting up your system

For Premiere Pro system requirements, see the Adobe website.

For lists of various categories of hardware compatible with Adobe Premiere Pro, see the Adobe website.

Jeff Sengstack provides detailed tips for optimizing a computer system and Premiere Pro for performance on the

Adobe website.

To run a series of performance tests on your computer system and determine how to optimize for performance with Premiere Pro,

This thread on the Premiere Pro forum provides recommendations for setting up disk drives for optimum

performance and reliability.

For details about CUDA processing, the Mercury Playback Engine, and GPU processing, see this thread on the Adobe

Premiere Pro user-to-user forum.

This thread on the Premiere Pro user-to-user forum includes several experienced users’ suggestions for practical

system requirements for Adobe Premiere Pro.

See this page for resources about optimizing performance.

See this video for an After Effects and Premiere Pro performance workshop from video2Brain.

See this video for a performance tip: stopping software not relevant to your work.

See the FAQ entry: “What computer and components should I buy for Premiere Pro?” for advice about a good

computer system for editing.

see this page.

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Workflows and setup

Premiere Pro trial versions

The trial version of Premiere Pro CS5 doesn't include some features that depend on third-party software components that are only included in the full version of Premiere Pro. The import and export of some formats are not supported in the trial version, such as AVC-Intra, AVCHD, HDV, MPEG-2, MPEG-2 DVD, MPEG-2 Blu-ray, and XDCAM. For a detailed list of limitations of the trial version of Premiere Pro software, see the

The trial version for Adobe Premiere Pro CS5.5 and later does not have the limitations that Premiere Pro CS5 has. It includes all sequence presets, editing modes, encoders, and decoders that are included in the full, activated version of Premiere Pro CS5.5 and later. However, after downloading the trial version of Premiere Pro CS5.5 and later, you do not receive the title templates or non-English speech-to-text dictionaries (speech analysis models). These items are available for download after you have purchased the software.

Watch this lesson by Video2Brain to learn about improvements in the free trial version of Adobe Premiere Pro CS5.5

and later-most notably, the inclusion of all encoders and decoders. Now the trial version can import and export the same formats as the full version.

For more information about the trial version of Adobe Premiere Pro CS5.5 and later, see this blog post on the Premiere Pro work area.

For frequently asked questions about trial versions, see the Adobe website.

Adobe website.

Set up a DV or HDV system

DV/HDV setup

A. Computer and computer monitor B. 6-pin FireWire port and connector C. 4-pin FireWire port and connector D. DV/HDV camcorder E. RCA jacks and plugs for L (white) audio, R (red) audio, composite video (yellow); jack and plug for S-Video (y/c) F. HDMI port and connector G. Television monitor

With this setup, you can capture audio and video from a DV or HDV source. You can monitor the signal on a TV monitor while editing. Finally, you can export any sequence back to videotape.

1 Connect the DV or HDV camcorder or VTR to the computer using a FireWire cable.

2 Connect the camcorder or VTR to the television monitor with an S-Video or RCA video cable and RCA audio

cables, or an HDMI cable.

3 Set the camcorder or VTR to VTR or Play mode.

4 (For HDV camcorders or VTRs only) Make sure the device is in DV playback mode for DV projects, or HDV

playback mode for HDV projects. See the user manual for your device for details.

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More Help topics

“Creating and changing projects” on page 51

“Selecting a sequence preset” on page 147

“Create a sequence” on page 142

“Create an HDV or HD sequence” on page 149

Set up an SD-SDI, HD-SDI, or component system

SDI/component setup with breakout box A. Computer and computer monitor B. (Optional) A/V breakout box C. XLR jacks and plugs for L & R audio D. RS232/422 port and connector E. BNC jacks and plugs for Y/Pb/Pr component video, BNC jack, and plug for SDI video F. HD/SD VTR G. BNC jacks and plugs for Y/Pb/Pr component video, BNC jack, and plug for SDI video H. RCA jacks and plugs for L (white) & R (red) audio I. Speakers J. Television monitor

With this setup you can capture audio and video from an SD-SDI, HD-SDI, or component video device (camcorder or VTR). You can monitor the signal on a TV monitor while editing. Finally, you can export any sequence back to the camcorder or VTR.

This setup requires either an SDI or component PCI card installed in the computer. Alternatively, it requires an external SDI or component device connected to the computer via FireWire. Either an internal card or an external device would provide ports, usually with BNC connectors, capable of receiving SDI or component video signals.

Some SDI and component PCI cards come with breakout boxes which provide ports for the SDI or component signals. Some breakout boxes also provide ports for genlock. Others provide the necessary outputs directly on the card.

1 Connect the SD-SDI, HD-SDI, or component device to the computer or breakout box using SDI or component

video cables. A single cable with BNC connectors carries SDI video, but three separate cables with BNC connectors carry component video signals. Run video cables from the video outputs of the computer or breakout box to the video inputs of the device. Also run video cables from the video outputs of the device to the video inputs of the computer or breakout box.

2 Connect the SD-SDI, HD-SDI, or component device to the computer or breakout box using XLR audio cables. Run

audio cables from the audio outputs of the computer or breakout box to the audio inputs of the device. Also run audio cables from the audio outputs of the device to the audio inputs of the computer or breakout box.

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3 Do one of the following:

• Connect the serial device control port (RS-422 or RS-232) on the camcorder or VTR with the serial port (Windows)

or USB port (Mac OS) on the computer. Use the Pipeline Digital ProVTR cable for RS-232/422-controlled devices.

• If your system has a breakout box with a serial device control port (RS-422 or RS-232), connect the serial device

control port on the device with this port on the breakout box. Do not connect the serial control port on the device with the serial or USB port on the computer. Some breakout boxes require a standard serial 9-pin D-Sub cable instead of the Pipeline Digital ProVTR cable. Consult the documentation from the manufacturer of the breakout box.

Note: Native serial device control is available in Windows only.

4 Connect the deck or camcorder to the television monitor with component video cables and to amplified speakers

with RCA audio cables.

5 Put the camcorder or deck into VTR or Play mode.

6 In Premiere Pro, select File >New > Sequence.

7 In the Available Presets area of the New Sequence dialog box, select the SDI or component preset that matches the

format of your source footage. Premiere Pro does not provide these presets. Manufacturers of SDI cards, component capture cards, and other devices provide these presets. The presets must be installed with those cards and devices.

8 Type a name in the Sequence Name box. Then click OK.

More Help topics

“Create a project” on page 52

Set up a file-based system

File-based system A. Card reader, drive, or camcorder for P2, XDCAM HD, XDCAM EX, or AVCHD media B. Computer and computer monitor C. Audio cables running to speakers or amplifier D. Speakers E. TV monitor F. BNC connectors for component or SDI video cables to TV monitor (alternative to “G”) G. HDMI connector for audio-video cable to TV monitor (alternative to “F”)

With this setup, you can import or transfer audio and video files from card readers, drives, or tapeless camcorders recorded in any of the following digital video file formats:

• Panasonic P2

• XDCAM HD

• XDCAM EX

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• AVCHD

• AVC-I

You can also preview video on a high-definition TV monitor, if your computer has one of the following:

• a high-definition capture card,

• a display card with component, SDI or HDMI outputs.

1 Connect the card reader, disk drive, or camcorder to the computer, typically with a USB 2.0 cable. Check the

manual for your device for details.

2 Connect the output of the computer sound card to computer speakers or audio amplifier.

3 Connect the video outputs from the capture card, breakout box, or display card to the TV monitor using

component, SDI, or HDMI cables.

Set up an S-Video or composite system

S-Video/composite setup A. Computer and computer monitor B. Ports and connectors for FireWire, USB 2.0 C. A/D converter D. Jacks and plugs for RCA composite video, S-Video (y/c) E. RS 232/422 port and connector F. RCA jacks and plugs for L (white) and R (red) audio G. Analog camcorder, analog VTR H. RCA jacks and plugs for L (white) audio, R (red) audio, and composite video (yellow); jack and plug for S-Video (y/c) I. Television monitor

With this setup, you can capture audio and video from an analog camcorder or VTR. You can monitor the video signal on a TV monitor while editing. Finally, you can export any sequence back to the camcorder or VTR.

To convert the analog source signal to a digital file the computer can read, this setup requires an analog/digital (A/D) converter, or digitizer. You can use any of the following to digitize the video signal:

• an internal digitizer, installed in the computer,

• an external digitizer, connected to the computer,

• a digital camcorder or VTR capable of digitizing an incoming analog signal.

1 Connect the analog camcorder or VTR to the digitizer using S-Video or RCA video cables. Run video cables from

the video outputs of the computer or its interface to the video inputs of the device. Also run video cables from the video outputs of the device to the video inputs of the computer or its interface.

2 Connect the analog camcorder or VTR to the digitizer using XLR or RCA audio cables. Run audio cables from the

audio outputs of the digitizer to the audio inputs of the device. Also run audio cables from the audio outputs of the device to the audio inputs of the digitizer.

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3 (Optional. For an analog camcorder or VTR with an RS-422 or RS-232 port. Windows only) Connect the serial

device control port on the camcorder or VTR with the serial port on the computer or digitizer using the Pipeline Digital ProVTR cable.

Note: Native serial device control is available in Windows only.

4 Connect the analog camcorder or VTR, or the digitizer, to the television monitor with an S-Video or RCA video

cable, and RCA or XLR audio cables.

5 Put the analog camcorder or deck into VTR or Play mode.

6 In Premiere Pro, select File >New > Sequence.

7 In the Available Presets area of the New Sequence dialog box, select the preset that matches the format of your A/D

converter. Do not match the source footage. For example, if you use a DV camcorder or A/DV converter to convert the analog signal, choose a DV preset.

8 Type a name in the Sequence Name box. Then click OK.

Specify the default audio device

1 Choose Edit > Preferences > Audio Hardware (Windows) or Premiere Pro > Preferences > Audio Hardware (Mac

OS), and set the following options:

• Select an output device from the Default Device menu.

• Select a buffer size from the Buffersize menu (Mac OS).

2 Click OK.

Audio Hardware Settings (Windows only)

When you click ASIO Settings in the Audio Hardware panel of the Preferences dialog box, Premiere Pro opens the Audio Hardware Settings dialog box, which contains an Input tab, and an Output tab.

Enable Devices Determines which connected audio device is routed into and out of Premiere Pro. If the device is an

ASIO device, select the ASIO drivers for the device. If the sound card does not have manufacturer-supplied ASIO drivers, choose Premiere Pro WDM Sound for this setting. To enable a device, be sure to install an up-to-date driver for the device (Windows.) If you want to input more than two stereo channels or monitor 5.1 surround audio, the device driver must comply with the ASIO (Audio Stream Input Output) specification. If it does not, only stereo inputs and outputs are available, regardless of the number of hardware inputs and outputs that are connected.

Buffersize Specifies the size of the buffer, in kilobytes, that Premiere Pro uses for recording audio.

Device 32-bit Recording/Playback On the Input tab, check Device 32-bit Recording to record audio in 32-bit samples.

On the Output tab, check Device 32-bit Playback to enable 32-bit playback.

Note: If you have trouble hearing audio, see the TechNote: “No sound during playback of video or audio clips (Premiere

Pro CS5, CS4, or CS3 on Windows.”

Set up a USB microphone (Mac OS)

1 In the Audio Midi Setup application in Utilities, go to Audio > Open Aggregate Device Editor.

2 Check each of the following:

• Your USB microphone.

• An additional input device, for example, Line In.

• An output device

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3 Select this new aggregate device within Premiere Pro's Audio Hardware Preference panel.

Specify ASIO device settings (Windows only)

1 Choose Edit >Preferences > Audio Hardware.

2 Click ASIO settings. Specify the ASIO settings for the selected device.

Note: The device and driver you use determine the settings in this dialog box, not Adobe Premiere Pro. See the documentation for the ASIO device and driver you use.

3 In the Audio Hardware Settings dialog box, select the Input tab.

4 Check the boxes next to the names of any devices you want to enable.

5 Check Device 32-bit Recording if you want to record 32-bit audio.

6 Drag the Samples slider to set the size of the buffer.

7 Click OK.

Specify whether to render audio when rendering video

You can specify whether Premiere Pro renders audio previews by default. Select Sequence > Render Effects In Work Area, or Sequence > Render Entire Work Area. Rendering audio previews could improve playback performance, but could take additional time when you select either of these commands.

1 Select Edit > Preferences > General (Windows), or Premiere Pro > Preferences > General (Mac OS).

2 Select or deselect Render Audio When Rendering Video.

3 Click OK.

Specify the duration for preroll and postroll pauses

You can set the length of preroll and postroll for clip and sequence previews in the General pane of the Preferences dialog box.

Note: The Preroll and Postroll fields are different from the Preroll setting in the Device Control pane of the Preferences dialog box. The Preroll setting in the Device Control pane affects the control of external devices such as VTRs and camcorders.

1 Select Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS).

2 In the Preroll and Postroll fields, type in the number of seconds for each.

3 Click OK.

More Help topics

“Play a sequence or clip with preroll and postroll pauses” on page 127

Specify scratch disks to improve system performance

When you edit a project, Premiere Pro uses disk space to store files required by your project. Premiere Pro stores captured video and audio, conformed audio, and preview files. Premiere Pro uses conformed audio files and preview files to optimize performance, allowing real-time editing, 32-bit floating-point quality, and efficient output.

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All scratch disk preferences are saved with each project. You can select different scratch disk locations for different projects. If you reopen an earlier project after editing another project with different scratch disk locations, Premiere Pro will seek out the files belonging to the earlier project at the scratch disk locations you chose for that project.

If you delete preview files or conformed audio files for a project, Premiere Pro automatically recreates them when you reopen the project.

By default, scratch disk files are stored where you save the project. The scratch disk space required increases as sequences become longer or more complex. For best performance, dedicate a hard disk or disk strictly for your media assets. Choose a disk for the assets other than the disk where you keep your project file, operating system files, or the files for applications. That way your media disks can access and play media files as fast as possible, without having to access other files. Use the Project > Project Settings > Scratch Disks command to specify which disks Premiere Pro uses for media files. Choose scratch disks when you set up a new project.

In terms of performance, it’s best to dedicate a different disk to each asset type, but you can also specify folders on the same disk. You can specify unique scratch disk locations for each of the following types of files:

Captured Video Video files that you create using File > Capture.

If you transfer video files to a scratch disk folder before creating the project for them, specify the folder containing the video files for Captured Video.

Captured Audio Audio files that you create using File > Capture, or by recording through the Audio Mixer as when

recording a voice-over.

Video Previews Files created when you use the Sequence > Render Entire Work Area command, export to a movie file,

or export to a device. If the previewed area includes effects, the effects are rendered at full quality in the preview file.

Audio Previews Audio preview files are created by all of the following commands:

• Sequence > Render Entire Work Area,

• the Clip > Audio Options > Render And Replace command,

• use export to a movie file,

• export to a DV device.

If the previewed area includes effects, they are rendered at full quality in the preview file.

Specify scratch disks

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

1 Choose Project > Project Settings > Scratch Disks.

2 Identify a location for each type of file named in the dialog box. Premiere Pro creates a subfolder named for each

file type (for instance, Captured Video) and stores the folder’s associated files in it. The menu lists three default locations:

My Documents (Windows) or Documents (Mac OS) Stores scratch files in the My Documents folder (Windows) or

Documents folder (Mac OS).

Same As Project Stores scratch files in the same folder where the project file is stored.

Custom Allows you to specify a location of your choosing. Choose Custom, then click Browse and browse to any

available folder.

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Optimizing scratch disk performance

For optimum performance, follow these guidelines:

• If your computer has only one hard disk, consider leaving all scratch disk options at their default settings.

• Set up scratch disks on one or more separate hard disks. In Premiere Pro, you can set up a separate scratch disk for

each type of media. For example, you can set up one disk for captured video and another for captured audio.

• On Windows, specify only partitions formatted for the NTFS file format as scratch disks. On Mac OS, use partitions

formatted for Mac OS Extended. FAT32 partitions are not recommended for video. They do not support large file sizes.

Note: Third-party tools are available that allow NTFS drives to work with Mac OS. See Tuxera NTFS for Mac, and

Paragon NTFS for Mac.

• On Mac OS, disable journaling for best performance.

• Specify your fastest hard disks for capturing footage and storing scratch files. You can use a slower disk for audio

preview files and the project file.

• Specify only disks attached to your computer. A hard disk located on a network is usually too slow. Avoid using

removable media because Premiere Pro always requires access to scratch disk files. Scratch disk files are preserved for each project, even when you close the project. They are reused when you reopen the project associated with them. If scratch disk files are stored on removable media and the media are removed from the drive, the scratch disk is not available to Premiere Pro.

• You can divide a single disk into partitions and set up partitions as scratch disks. However, partioning doesn’t

improve performance because the single drive mechanism becomes a bottleneck. For best results, set up scratch disk volumes that are physically separate drives.

• You can capture audio and video to separate drives, if supported by the format codec. (The native DV and HDV

capture in Premiere Pro does not support capturing audio separate from video.) Set the locations for new files by choosing Edit > Preferences > Scratch Disks (Windows) or Premiere Pro > Preferences > Scratch Disks (Mac OS). If you don’t change the defaults, all files captured or created by Premiere Pro are stored in the same folder in which it stores the project files.

Online resources for improving system performance

See this forum thread for advice from experienced users on setting up disks for a video editing system.

For a collection of videos and articles about making Premiere Pro work faster can be found on this blog post.

See this video to learn about hard disk setup for optimum performance in Adobe Premiere Pro and After Effects.

To learn how to format a disk as NTFS on Windows, see this web page on the Microsoft site.

To learn how to format a disk as HFS+ on Mac OS, see this page from the kenstone.net website. The information on this page is valid for Mac OS X 10.4-10.7

Move or clean the Media Cache Database

When Premiere Pro imports video and audio in some formats, it processes and caches versions of these items that it can readily access when generating previews. Imported audio files are each conformed to a new .cfa file, and MPEG files are indexed to a new .mpgindex file. The media cache greatly improves performance for previews, because the video and audio items do not need to be reprocessed for each preview.

Note: When you first import a file, you may experience a delay while the media is being processed and cached.

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A database retains links to each of the cached media files. This media cache database is shared with Adobe Media Encoder, After Effects, Premiere Pro, Encore, and Soundbooth, so each of these applications can each read from and write to the same set of cached media files. If you change the location of the database from within any of these applications, the location is updated for the other applications, too. Each application can use its own cache folder, but the same database keeps track of them.

❖ Choose Edit > Preferences > Media (Windows) or Premiere Pro > Preferences > Media (Mac OS), and do one of

the following:

• To move the media cache or the media cache database, click the respective Browse, button.

• To remove conformed and indexed files from the cache and to remove their entries from the database, click Clean.

This command only removes files associated with footage items for which the source file is no longer available.

Important: Before clicking the Clean button, make sure that any storage devices that contain your currently used source media are connected to your computer. If footage is determined to be missing because the storage device on which it is located is not connected, the associated files in the media cache is removed. This removal results in the need to reconform or reindex the footage when you attempt to use the footage later.

Cleaning the database and cache with the Clean button does not remove files that are associated with footage items for which the source files are still available. To manually remove conformed files and index files, navigate to the media

cache folder and delete the files.

Optimize rendering for available memory

By default, Premiere Pro renders video using the maximum number of available processors, up to 16. However, some sequences, such as those containing high-resolution source video or still images, require large amounts of memory for the simultaneous rendering of multiple frames. These sequences can force Premiere Pro to cancel rendering and to give a Low Memory Warning alert. In these cases, you can maximize the available memory by changing the rendering optimization preference from Performance to Memory. Change this preference back to Performance when rendering no longer requires memory optimization.

1 Select Edit > Preferences, and select Memory in the Preferences dialog box.

2 In the drop-down list next to Optimize Rendering For, select Memory.

3 Click OK, close Premiere Pro, and reopen the project for the new preference to take effect.

More Help topics

“Memory preferences” on page 19

“Render audio when rendering video” on page 206

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Chapter 4: Project setup

Creating and changing projects

A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each effect. Premiere Pro creates a folder on your hard disk at the start of each new project. By default, this is where it stores the files it captures, the preview and conformed audio files it creates, and the project file itself.

For every project you create, Premiere Pro creates a project file. This file contains the settings you select for each sequence in the project, as well as crucial data about the assets, edit decisions, and effects used in the project.

Premiere Pro doesn’t store video, audio, or still image files in the project file—it stores only a reference to each of these files, a clip, which is based on the filename and location of the file at the time you imported it. If you later move, rename, or delete a source file, Premiere Pro can’t find it automatically the next time you open the project. In this case, Premiere Pro displays the Where Is The File dialog box.

By default, every project includes a single Project panel. This acts as a storage area for all clips used in the project. You can organize a project’s media and sequences using bins in the Project panel.

A project may contain multiple sequences, and the sequences within a project may differ from one another in their settings. Within a single project, you can edit individual segments as separate sequences, and then combine the segments into a finished program by nesting them into a longer sequence. Similarly, you can store multiple variations of a sequence, as separate sequences, in the same project.

Note: There’s no need to save copies of a project when creating different segments or versions of the same video program. Simply create new or duplicate sequences within a single project file.

Online Resources

Andrew Devis shows how to set up a new project and sequence in this getting-started video on the Creative Cow

website.

Maxim Jago explains project settings and demonstrates the process of starting up a new project in this video from

“Getting Started with Premiere Pro” from Video2Brain.

This chapter from the “Adobe Premiere Pro CS5 Classroom in a Book” explains how to set up projects, sequences, and

preferences when getting started with Premiere Pro.

Maxim Jago shows how to create a new project and sequence in this video from “Premiere Pro CS5: Learn by Video”

from Video2Brain.

Get free project templates and more from Jarle Leirpoll’s Premiere Pro blog.

More Help topics

“Sequence presets and settings” on page 143

www.adobe.com/go/learn_dv_primer_dvbasics_en

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Create a project

Projects may contain more than one sequence, and the settings for one sequence may differ from that of another. Premiere Pro will prompt you for settings for the first sequence every time you create a new project. However, you can cancel this step to create a project containing no sequences.

1 (Optional) If you plan to capture video from a device, connect the device to your computer using an IEEE 1394 or

SDI connection. Then turn the device on, and do one of the following:

• If the device is a camera, set it to the playback mode, which may be labeled VTR or VCR.

• If the device is a deck, make sure that its output is set properly.

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

2 Either choose New Project on the Welcome screen that appears when Premiere Pro starts up or, after the

application is open, choose File > New > Project.

3 Browse to a location where you want to save the project file, name the project, and click OK.

Note: Whenever possible, specify a location and name that you won’t have to change later. By default, Premiere Pro stores rendered previews, conformed audio files, and captured audio and video in the folder where you store the project. Moving a project file later may require moving its associated files as well.

4 Do one of the following:

• Select a preset, or customize settings, for the first sequence of the project. For more information, see “Create a

sequence” on page 142. Then, click OK.

• To create a project without a sequence, click Cancel.

5 (Optional) If you want to change where Premiere Pro stores various types of files, specify the scratch disk locations.

“Specify scratch disks to improve system performance” on page 47.

See

Note: Premiere Pro supports high bit-depth (greater than 8 bits per channel) video necessary for editing standard and high definition footage.

More Help topics

“Create a sequence” on page 142

Review project settings

All project settings apply to the whole project, and most can’t be changed after a project is created.

After you begin working in a project, you can review project settings, but you can change only a few of them. You can access these settings through the Project Settings dialog box.

1 Choose Project > Project Settings > General, or Project > Project Settings > Scratch Disks.

2 View or change settings as needed.

3 Click OK.

Project Settings dialog box

General

Video Rendering and Playback Specifies whether the software or hardware function of the Mercury Playback Engine

is enabled or not. If a qualified CUDA card is installed, the choice for hardware rendering and playback with the

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Mercury Playback Engine will be enabled. For more information about CUDA, Mercury Playback Engine and Premiere Pro,

Title Safe Area Specifies how much of the frame edge to mark as a safe zone for titles, so that titles aren’t cut off by

see this post on the Premiere Pro Work Area blog.

television set overscan. A rectangle with cross hairs marks the title-safe zone when you click the Safe Margins button in the Source Monitor or Program Monitor. Titles are usually assumed to require a wider safe zone than action.

Action Safe Area Specifies how much of the frame edge to mark as a safe zone for action so that action isn’t cut off by

television set overscan. A rectangle marks the action-safe zone when you click the Safe Margins button in the Source Monitor or Program Monitor.

Display Format (Video and Audio) For information about video and audio display formats, see their entries under

General Settings in

Capture Format For information about setting the capture format, see “Set capture format, preferences, and tracks”

“Sequence presets and settings” on page 143.

on page 79.

Scratch Disks

For information about designating scratch disks, see “Specify scratch disks to improve system performance” on page 47.

Online Resources

See this video tutorial by Andrew Devis on the Creative Cow website for information about the choices users must

make in the Welcome screen, and the New Project and New Sequence dialog boxes after opening Premiere Pro.

Open a project

Premiere Pro for Windows can open project files created with earlier versions of Premiere Pro or Adobe Premiere 6.x. You can open only one project at a time. To transfer the contents of one project into another, use the Import command.

Use the Auto Save command to automatically save copies of your projects in the Premiere Pro Auto-Save folder.

You may encounter missing files as you work on a project. You can continue working by substituting offline files as placeholders for the missing files. You can edit using offline files, but you must bring the originals back online before rendering your movie.

To bring a file back online after the project is open, use the Link Media command. You can continue working without having to close and reopen the project.

1 Choose File > Open Project.

2 Browse to the project file and select it.

3 Select Open.

4 If the Where Is The File dialog box opens, locate the file using the Look In field, or choose one of the following in

the Where Is The File dialog box:

Find Launches the Windows Explorer (Windows) or Finder (Mac OS) search feature.

When moving a project and assets to a different machine, you can edit the file path in the project file so that Premiere

Pro finds the files associated with the project automatically. Open the PRPROJ file in a text editor, or in an XML editor like Dreamweaver. Search for the file path that was used when the project was on the previous machine. Replace it with the file path on the new machine.

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Skip Replaces a missing file with a temporary offline clip for the duration of a session. When you close your project

and then reopen it, you see a dialog box that asks you to locate the file or allows you to skip it again.

Skip All Like Skip, Skip All replaces all missing files with temporary offline files.

Important: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project. If you want to keep the file in the project but can’t locate it at the moment, use Offline instead.

Skip Previews Stops Premiere Pro from searching for any preview files already rendered for the project. This allows

the project to load faster, but you may need to render parts of its sequences for best playback performance.

Offline Replaces a missing file with an offline clip, a placeholder that preserves all references to the missing file

everywhere in the project. Unlike the temporary offline clip created by Skip, the one generated by Offline persists between sessions, so you won’t have to locate missing files every time the project is opened.

Offline All Like Offline, Offline All replaces all missing files with persistent offline files.

Note: Do not delete source files while you are using them as clips in a Premiere Pro project unless they were captured using device control, and you plan to recapture them. After you deliver the final movie, you can delete source files.

More Help topics

“Importing earlier Premiere Pro projects” on page 73

“Importing sequences, clip lists, libraries, and compositions” on page 72

Delete a project file

1 In Windows Explorer (Windows) or Finder (Mac OS), browse to the Premiere Pro project file, and select it. Project

files have a .prproj filename extension.

2 Press Delete.

Moving a project to another computer

To move a project to another computer where you want to continue editing, you must move copies of all the assets for the project to the second computer, as well as the project file. The assets should retain their file names and folder locations so that Premiere Pro can find them and relink them to their clips in the project automatically.

Make certain, also that the same codecs you used for the project on the first computer are also installed on the second computer. For more information about moving a project and its assets to another computer, see

project” on page 55.

More Help topics

“Cross-platform workflow” on page 27

“Trim or copy your project” on page 55

“Trim or copy your

Archiving projects

The Premiere Pro Project Manager can help facilitate an efficient workflow by performing two functions: reducing the storage needs of a project, and consolidating the files associated with a project.

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Using Project Manager, you can create a version of your project, called a trimmed project, that references only the material used in your sequences. Also, you can specify which sequences to include in the trimmed project. You need not include all of them. Trimmed projects are saved under a unique name in the standard Premiere Pro project file format (.prproj).

In the trimmed project, file references are modified so that the project refers only to the portions of the footage items, including offline clips, that you used in sequences. You can instruct Project Manager to copy the relevant portions of the source media files to serve as the source files for the trimmed project; or you can have the trimmed project list the footage items as offline, so that you can capture them from videotape. (The latter method is useful when employing an offline/online editing workflow, in which you replace low-quality footage used for editing with high-quality footage used for export.) Using either method, you reduce storage requirements by using only the media you need to create and export the sequences in the project; you can archive or delete the original source media.

The Project Manager can also help you consolidate, or collect, a project. Collecting files copies the current project and all of its associated media files to a single location. You can use this feature to gather a project’s source media files when they are stored in various locations, and to prepare a project for sharing or archiving.

When you create a trimmed project and source files, keep the following things in mind. The Project Manager copies only portions of source footage used in sequences. However, you can specify the number of extra frames, or handles, the new footage includes, so that you can still make minor edits in the trimmed project. The new footage retains the and reel number of the original captured footage. If one or more subclips share frames with another subclip, the Project Manager creates a footage file that contains only those shared frames. The Project Manager also copies the still image sequences used in the original project. Still images, titles, and generated footage, such as color bars and counting leaders, are also retained, but not trimmed. Offline clips are trimmed.

When either trimming or collecting a project, you can specify whether the new project retains any of the unused clips from the original project.

Project Manager does not trim the source footage for multi-camera sequences. As the nested sequence contains all the source footage, Project Manager does not trim any of that source footage.

Project Manager does not carry all effects into a trimmed project. Check your trimmed project carefully before discarding the source project.

Certain Long GOP formats cannot be trimmed by the Project Manager.

Note: Project Manager retains any effect keyframes and clip markers that exist beyond the In and Out points of a trimmed clip.

Online Resources

See this excerpt from Adobe Premiere Pro CS5 Classroom in a Book which explains managing assets in a project,

including using the Project Manager.

Franklin McMahon from franklinmcmahon.com shows how to trim, copy, and archive projects with the Project Manager in this video on the Layers Magazine website.

Trim or copy your project

1 Choose Project > Project Manager.

2 In the Source pane of the Project Manager window, check the box next to each sequence you want to include in

your trimmed project. To check all boxes, Shift-click any one box.

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Note: Nested sequences are not automatically added to the trimmed sequences. If the sequence(s) you are trimming contain nested sequences, you also need to include these nested sequences in the selection so they are included in the trimmed project.

3 Select one of the following:

Create New Trimmed Project to create a new version of the current project that refers only to the footage you used in

the selected sequences

Collect Files and Copy to New Location to copy and consolidate the footage you used in the selected sequences.

Note: Project Manager does not copy and collect After Effects compositions that are dynamically linked to an

Premiere Pro project. Project Manager does save the Dynamic Link clip in the trimmed project as an offline clip,

Adobe however.

4 Select any of the following options, if available.

Note: The options that are available depend on the option you choose in the previous step.

Exclude Unused Clips Specifies that Project Manager will not include, or copy, media you did not use in the original

project.

Make Offline Specifies that Project Manager denote as “offline” any footage that you can recapture later. When you

select this option, Project Manager retains reel names and timecode to facilitate quick batch capture. Selecting this option is especially useful if you used low resolution footage in your original project, or if you are archiving a project. This option is available only if Create New Trimmed Project is selected. Selecting this option will have no effect on MXF files, as their Reel Names will remain empty and as this media cannot be recaptured by batch recapturing.

Note: When recapturing footage using offline clips from a trimmed project, source clips that do not match the current sequence settings are recaptured at their original settings, not the current sequence settings. To override this behavior, click Override Clip Settings in the Batch Capture dialog box and specify the settings that you want for all captured clips. However, this option is rarely necessary for capturing DV footage.

Include Handles Specifies the number of frames to retain before the In point and after the Out point of each trimmed

clip. For example, a value of 30 means that 30 frames are retained before the In point, and 30 frames are retained after the Out point. Handles function as extra frames that allow for additional minor adjustments to the edits in the new project.

Note: Some formats, such as Long GOP based media files, cannot trim media, or add handles.

Include Preview Files Specifies that effects you rendered in the original project remain rendered in the new project.

When not selected, the new project occupies less disk space, but the effects are not rendered. This option is available only if you select Collect Files And Copy To New Location.

Include Audio Conform Files Ensures that the audio you conformed in the original project remains conformed in the

new project. When not selected, the new project occupies less disk space, but Premiere Pro conforms the audio again when you open the project. This option is available only if you select Collect Files And Copy To New Location.

Rename Media Files To Match Clip Names Renames the copied footage files with the same names as your captured

clips. Select this option if you rename your captured clips from within the Project window and want the copied footage files to have the same name. (Captured files that you import, especially those captured using scene detection, may not have intuitive names, so you may want to rename them from within the Project window.) This option ensures that the filename of the actual captured footage is updated to reflect the new name in the Project window, greatly simplifying the organization of your footage files. Selecting this option for an MXF file will not change the User Clip Name in the file’s XML; however, it will change the filename of the clip copied for the trimmed project to match the clip name shown in the project panel.

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Project setup

Note: If you rename captured clips, and then select the Make Offline option, the subsequent copied project retains and displays the original filename, not the new name.

Project Destination Designates where Project Manager saves the files you specified. Click Browse to navigate to a

location other than the default. When creating a trimmed project, Project Manager creates a folder named “Trimmed_[Project Name]” and saves the trimmed project and other files you specified, such as trimmed footage files into the folder. When copying a project, Project Manager creates a folder named “Copied_[Project Name]” and copies the project, footage files, and other files you specified into the folder.

Note: If a folder already exists with a name identical to the project you are trimming, Project Manager appends a number

to the name. For example, identically-named successive projects may have appendages of “_001, _002, _003, _004,....”

Disk Space Displays a comparison between the size of the current project’s files and the estimated size of the trimmed

or copied files. Click Calculate to update the estimate.

5 Click OK.

When trimming a project or copying and collecting files, the Project Manager does not produce a P2-compliant MXF file structure for media files that came from a P2 source.

The following online resources are available for more information about trimming or copying your project:

• Franklin McMahon demonstrates a few features for preparing a movie for export and review, including details

about trimming a project

in this video on the Layers Magazine website.

• Andrew Devis shows you how to trim and store your projects with the Project Manager in this video on the Creative

Cow website.

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Chapter 5: Importing, transferring, capturing, and digitizing

Transferring and importing files

For information about shooting and capturing high-quality audio and video, see “Shooting and Capturing Great Video

Assets,” from Premiere Pro CS5 Classroom in a Book.

File formats supported for import

Important: The trial version of Premiere Pro CS5 doesn't include some features that depend on third-party software components that are only included in the full version of Premiere Pro. The import and export of some formats are not supported in the trial version, such as AVC-Intra, AVCHD, HDV, MPEG-2, MPEG-2 DVD, MPEG-2 Blu-ray, and XDCAM. The trial version for Adobe Premiere Pro CS5.5 and later does not have the limitations that Premiere Pro CS5 has. It includes all sequence presets, editing modes, encoders, and decoders that are included in the full, activated version of Premiere Pro CS5.5 and later. However, after downloading the trial version of Premiere Pro CS5.5 and later, you do not receive the title templates or non-English speech-to-text dictionaries (speech analysis modes). These items are available for download after you have purchased the software. For a detailed list of limitations of the trial version of Premiere Pro software, see the see this video.

Adobe website. For more details about the trial version of Premiere Pro CS5.5 and later,

Premiere Pro can import many video and audio formats. Plug-in software modules provide file format support. Most of these software modules are installed automatically with Premiere Pro.

Some filename extensions—such as MOV, AVI, MXF, FLV, and F4V—denote container file formats rather than denoting a specific audio, video, or image data format. Container files can contain data encoded using various compression and encoding schemes. Premiere Pro can import these container files, but the ability to import the data that they contain is dependent on the codecs (specifically, decoders) installed.

By installing additional codecs, you can extend the ability of Premiere Pro to import additional file types. Many codecs must be installed into the operating system (Windows or Mac OS) and work as a component inside the QuickTime or Video for Windows formats. Contact the manufacturer of your hardware or software for more information about codecs that work with the files that your specific devices or applications create. If Premiere Pro does not import your file, see this FAQ video tutorial,

Video and still-image files that you want to import must not be more than the maximum dimensions allowed. For more information on maximum dimensions in Premiere Pro, see the

Adobe provides workflow guides for P2, RED, XDCAM, AVCCAM, and DSLR cameras and footage on the Adobe

website.

Colin Brougham explains how Premiere Pro works natively with tapeless media (no transcoding) in this article and

video series on the ProVideo Coalition website.

For more information about RED (R3D) digital cinema and Canon XF improvements in Premiere Pro CS5.5 and later,

read this post on the Premiere Pro work area blog.

Premiere Pro can import files in the formats listed, provided the codec used to generate a specific file is installed locally.

"Why can't Premiere Pro import my file?" for an explanation.

Premiere Pro Work Area blog.

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Importing, transferring, capturing, and digitizing

Supported video and animation file formats

• 3GP, 3G2

• ASF (Netshow, Windows only)

• AVI (DV-AVI, Microsoft AVI Type 1 and Type 2)

• DV (raw DV stream, a QuickTime format)

• FLV and F4V

Note: Premiere Pro CS5 can import FLV files with video encoded using the On2 VP6 video codec; Premiere Pro CS5 can’t import FLV files with video encoded with the Sorenson Spark video codec. As with any unsupported format, transcode the file to a format that Premiere Pro can import.

• GIF (Animated GIF)

• M1V (MPEG-1 Video File)

• M2T (Sony HDV)

• M2TS (Blu-ray BDAV MPEG-2 Transport Stream, AVCHD)

• M4V (MPEG-4 Video File)

• MOV (QuickTime Movie, requires QuickTime 7 for import of non-native QuickTime files; in Windows, requires

QuickTime player)

Note: The fully featured version of QuickTime 7 Pro is not installed in Mac OS X 10.7 by default. If you are using Mac OS X 10.7, information see the article, "Install QuickTime 7 Pro with Lion.”

go to this page to download the proper version (QuickTime Player 7.66 for Mac OS X v.10.6.3). For more

• MP4 (QuickTime Movie, XDCAM EX)

• MPEG, MPE, MPG (MPEG-1, MPEG-2), M2V (DVD-compliant MPEG-2)

• MTS (AVCHD)

• MXF (Media eXchange Format; P2 Movie: Panasonic Op-Atom variant of MXF, with video in DV, DVCPRO,

DVCPRO 50, DVCPRO HD, AVC-Intra; XDCAM HD Movie, Sony XDCAM HD 50 (4:2:2), Avid MXF Movie), and native Canon XF (new in Premiere Pro CS5.5 and later)

Note: In Premiere Pro CS5.5 and later, native Canon XF files are previewed in the Media Browser and use of metadata is supported.

• R3D (RED camera)

• In Premiere Pro CS5, there was an update to the importer software for RED (R3D) files. The update is related to

the RED camera Mysterium-X sensor and new color science. See the information.

Premiere Pro Work Area blog for

• In Premiere Pro CS5 (5.0.2), there were updates for RED (R3D) footage and new REDCODE plug-ins. See the

Premiere Pro Work Area blog for more information.

• Adobe Premiere Pro CS5.5 and later includes several additions and improvements to source settings for RED

Digital Cinema (R3D) files, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.) and better curves and levels user interface. For a summary of these new and changed features for RED (R3D) footage, as well as improvements made in the Premiere Pro CS5 (5.0.2) update, including RMD and Red Rocket card support, see

this video by Video2Brain.

• Adobe has also released a preview version of advanced RED importer software that adds support for RED EPIC

footage, as well as the following features:

• ability to rotate and flip footage based on the camera orientation flag in R3D metadata

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• support for Echo port in R3D Source Settings dialog box, so that RED preview can be sent out to an external

monitor

• increased size of RED R3D Source Settings dialog on large monitors

• HDR track selection and HDR blend support

• SWF

Note: SWF files can be imported with an alpha channel. Audio is not retained. Interactive content and scripted animation are not retained. Animation defined by keyframes in the main, top-level movie is retained.

• VOB

• WMV (Windows Media, Windows only)

Note: Render Type 1 AVI clips before previewing from a DV device. To render a Type 1 AVI clip, add it to a sequence in a DV project, and preview it.

Supported audio file formats

• AAC

• AC3 (including 5.1 surround)

• AIFF, AIF

• ASND (Adobe Sound Document)

• AVI (Video for Windows)

• BWF (Broadcast WAVE format, Premiere Pro CS5 (5.0.2) and later)

• M4A (MPEG-4 Audio)

• mp3 (mp3 Audio)

• MPEG, MPG (MPEG Movie)

• MOV (QuickTime; requires QuickTime player)

• MXF (Media eXchange Format; P2 Movie: Panasonic Op-Atom variant of MXF, with video in DV, DVCPRO,

DVCPRO 50, DVCPRO HD, AVC-Intra; XDCAM HD Movie, Sony XDCAM HD 50 (4:2:2), Avid MXF Movie)

• WMA (Windows Media Audio, Windows only)

• WAV (Windows WAVeform)

Supported still-image and still-image sequence file formats

Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still-image files.

• AI, EPS

• BMP, DIB, RLE

• DPX

• EPS

• GIF

• ICO (Icon File) (Windows only)

• JPEG (JPE, JPG, JFIF)

• PICT

• PNG

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• PSD

• PSQ (Adobe Premiere 6 Storyboard)

• PTL, PRTL (Adobe Premiere title)

• TGA, ICB, VDA, VST

• TIF

Supported video project file formats

• AAF (Advanced Authoring Format)

• AEP, AEPX (After Effects project)

• CSV, PBL, TXT, TAB (batch lists)

• EDL (CMX3600 EDLs)

• PLB (Adobe Premiere 6.x bin) (Windows only)

• PREL (Adobe Premiere Elements project) (Windows only)

• PRPROJ (Premiere Pro project)

• PSQ (Adobe Premiere 6.x storyboard) (Windows only)

• XML (FCP XML)

Note: Premiere Pro on Mac OS imports projects from version CS3 onwards. You need the Windows version to open projects from earlier versions and save them as a current one.

More Help topics

“Selecting a sequence preset” on page 147

About transferring files

Transferring projects from other computers

When transferring project files, such as After Effects project files, Premiere Pro project files, or Final Cut Pro project files from another computer to the computer on which you will import those project files into Premiere Pro, make sure you transfer all the assets associated with the project files. Keep the project files, and their associated assets, on the destination computer in folders that have names and folder structures identical with those on the computer of their origin.

Transferring assets from file-based media

It is possible to edit assets residing on file-based media, such as P2 cards, XDCAM cartridges, SxS cards, or DVDs. However, Premiere Pro performs faster if you first transfer the assets to a local hard disk. Using Windows File Explorer (Windows) or Finder (Mac OS), transfer files from file-based acquisition media. Then, import the files on the hard disk into Premiere Pro projects.

When transferring files to hard disk from file-based media, transfer the folder containing all related files and all of its subfolders. Keep the folder structure intact. For example, when transferring files from AVCHD file-based media, transfer the BDMV folder and all its contents. When transferring files from DVCPRO HD media, transfer the CONTENTS folder and all its contents. When transferring files from XDCAM EX media, transfer the BPAV folder and all its contents. When transferring files from DVD, transfer all the contents of the VIDEO_TS folder, and if it exists, all the contents of the AUDIO_TS folder.

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Transfer video files from file-based media into the same folder you specify for captured video with the project scratch

disk settings.

The folder structure for AVCHD assets

The folder structure for DVCPRO HD assets

The folder structure for XDCAM EX assets

The folder structure for DVD-video assets

More Help topics

“Specify scratch disks to improve system performance” on page 47

“Import files with the Media Browser” on page 63

About importing files

For a video overview of the ways to import assets into Premiere Pro, see the Adobe website.

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Importing is different from capturing. The Import command brings files that are already on your hard disk or other connected storage device into your project. Importing files makes them available to a Premiere Pro project. Premiere Pro lets you import numerous types of video, still images, and audio. Finally, you can export a Premiere Pro project from After Effects, and import it into Premiere Pro.

You can import video, audio, and still files in various file formats into a Premiere Pro project. You can import a single file, multiple files, or an entire folder. Frame sizes cannot exceed 16 megapixels.

If the software you use to create art doesn’t let you specify pixels as a unit of measure, try specifying points.

For a basic tutorial on importing, editing, and then exporting a file, see this video by Clay Asbury.

In Premiere Pro, you can import files by using the Media Browser or the Import command. You can also place files into Premiere Pro from Adobe Bridge.

Premiere Pro indexes certain types of files and transcodes others after importing them. You cannot edit these types fully until these processes are completed. The filename of a clip appears in the Project panel in italics until it has been fully indexed or transcoded.

To import files that Premiere Pro does not support natively, install the appropriate capture card or third-party plugin software. For more information, check the manual that came with the installed card or plug-in.

You can also import files and folders by dragging them from Windows Explorer (Windows) or Finder (Mac OS) into

the Project panel. On Windows Vista, if the User Account Control (UAC) is activated, Windows disables drag-anddrop from Windows Explorer, or any program, to any program running in Administrator mode. You run Premiere Pro in Administrator mode for plugin activation, special disk access, and network permissions. To enable drag and drop while running Premiere Pro in Administrator mode disable the UAC. In Windows Control Panel, select User Accounts. Disable UAC for the selected user..

More Help topics

“Import files with the Media Browser” on page 63

“Capturing and digitizing” on page 78

Import files with the Media Browser

The Media Browser makes it easy to browse to files, and to find them by their type. Unlike the Import dialog box, the Media Browser can be left open, and docked, like any other panel. The Media Browser gives you quick access to all your assets while you edit. Also, you can use the Media Browser to import clips copied from video storage media such as P2 cards, SxS cards, XDCAM disks, and DVDs. When you import an asset Premiere Pro leaves it in its current location, and creates a clip in the Project panel that points to it. By default, Premiere Pro writes XMP files to the directory where the media files are located, but you can turn off this behavior in Preferences. For best performance, first transfer files from their file-based media to a local hard disk. Then, import them into Premiere Pro projects from the hard disk.

1 Select Window > Media Browser.

2 To browse to the desired files, do one of the following:

• To open a folder recently opened, click the triangle in the Recent Directories menu, and select the folder.

• In the list of hard drives and folders in the Media Browser, click the triangles next to folder names to open them.

3 To view only files of certain types, click the triangle in the Files Of Type menu, and select a file type. To select an

additional type, open the menu again and make another selection. Repeat until all desired types have been selected.

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4 Select one or more files from the list of files. To select more than one non-contiguous file, Ctrl-click (Windows) or

Command-click (Mac OS) the filenames. To select more than one contiguous file, Shift-click the filenames.

5 Do one of the following:

• Select File > Import From Browser, or right-click the file in the Media Browser and select Import. Alternatively, you

can drag the file from the Media Browser into the Project panel, or drag the file from the Media Browser into a Timeline.

The Media Browser imports the file into the Project panel.

• Right-click the file in the Media Browser and select Open In Source Monitor. Alternatively, double-click the file in

the Media Browser to open it in the Source Monitor.

The Media Browser opens the file in the Source Monitor.

Import files with the Import commands

Note: While you can import clips directly from file-based media connected to your computer, it is best to first transfer clips from these media to a hard disk. Then, import them from the hard disk. For more information about transferring files, see

• Choose File > Import. You can select multiple files.

• To import a recently imported file, choose File > Import Recent File > [file name]. (The file name doesn’t appear if

• To import a folder of files, choose File > Import. Locate and select the folder, and then click Import Folder. The

• For instructions on importing a numbered still-image sequence as a clip, see “Import numbered still-image

“About transferring files” on page 61

Premiere Pro preferences have been reset.)

folder, with its contents, is added as a new bin in the Project panel.

sequences as video clips” on page 70.

More Help topics

“Import files using Adobe Bridge” on page 64

Import files using Adobe Bridge

You can import files into Premiere Pro from Adobe Bridge.

More Help topics

About Adobe Bridge CS5

Start Adobe Bridge from Adobe Premiere Pro

For a video on using Adobe Bridge, see www.adobe.com/go/vid0090.

❖ Do one of the following:

• Choose File > Browse In Bridge.

• Select a file in the Project panel, then choose File > Reveal in Bridge.

Import files from Adobe Bridge

1 Start Adobe Bridge from Premiere Pro.

2 In Adobe Bridge, double-click the clip.

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Importing, transferring, capturing, and digitizing

Premiere Pro imports the clip into the Project panel.

You can also drag clips from the Adobe Bridge Content panel directly into the Premiere Pro Project panel.

Channel support

Premiere Pro supports four-channel assets. Every processed pixel in the render pipeline uses four channels. When Premiere Pro processes a three-channel asset, such as DV, HDV, or MPEG footage, Premiere Pro automatically converts it to a four-channel asset. Premiere Pro converts a three-channel asset when you add an effect or transition to the asset.

Premiere Pro supports 10-bit color depth, sometimes useful for editing standard and high-definition footage.

Importing assets from tapeless formats

File-based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures. These formats include Panasonic P2 camcorders, Sony XDCAM HD and XDCAM EX camcorders, Sony CF-based HDV camcorders, and AVCHD camcorders.

Camcorders recording in any of these formats typically record to hard disks, optical media, or flash memory media, not to videotape. These camcorders and formats are therefore called file-based, or tapeless, rather than tape-based.

The video and audio from a file-based camcorder are already contained in digital files. No capture or digitizing step is necessary to bring them into Premiere Pro. Reading the data from the recording media and converting it to a format that can be used in a project is instead called ingest. Premiere Pro ingests files in any of these file-based formats from any of their media.

Adobe provides workflow guides for P2, RED, XDCAM, AVCCAM, and DSLR cameras and footage on the Adobe

website.

XDCAM and AVCHD formats

You can find the video files from XDCAM HD camcorders in the CLIP folder, written in the MXF format. XDCAM EX camcorders write MP4 files into a folder named BPAV.

For information about the XDCAM format, see this PDF document on the Sony website.

AVCHD video files are in the STREAM folder. For more information about the AVCHD format, see the AVCHD

website

The Panasonic P2 format

A P2 card is a solid-state memory device that plugs into the PCMCIA slot of a Panasonic P2 video camera, such as the AG-HVX200. The digital video and audio data from the video camera is recorded onto the card in a structured, codecindependent format known as MXF (Media eXchange Format). Specifically, Premiere Pro supports the Panasonic OpAtom variant of MXF, with video in DV, DVCPRO, DVCPRO 50, DVCPRO HD, or AVC-I formats. A clip is in the P2 format if its audio and video are contained in Panasonic Op-Atom MXF files. These files are located in a specific file structure.

The root of the P2 file structure is a CONTENTS folder. Each essence item (an item of video or audio) is contained in a separate MXF wrapper file. The video MXF files are in the VIDEO subfolder, and the audio MXF files are in the AUDIO subfolder. XML files in the CLIP subfolder contain the associations between essence files and the metadata associated with them.

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Importing, transferring, capturing, and digitizing

Note: Premiere Pro does not support proxies recorded by some Panasonic P2 camcorders in P2 card PROXY folders.

For your computer to read P2 cards, it needs the appropriate driver, which you can download from the Panasonic website. Panasonic also provides the P2 Viewer application, with which you can browse and play media stored on a P2 card.

Note: To use certain features with P2 files, you first change the file properties from read only to read and write. For example, to change the timecode metadata of a clip using the Timecode dialog box, you first set the file properties to read and write. Use the operating system file explorer to change file properties.

Avid capture format

Avid editing systems capture footage to MXF files, generally into a folder called Avid Media files, with audio captured into discreet files separate from the video files. When you import Avid video files, Premiere Pro automatically imports their associated audio files. However, it is simpler to import Avid project files, in Advanced Authoring Format (AAF), than to identify and import individual Avid MXF video files.

DVD format

DVD camcorders and DVD recorders capture video and audio into MPEG-encoded VOB files. VOB files are written into a VIDEO_TS folder. Optionally, ancillary audio files may be written into an AUDIO_TS folder.

Note: Premiere Pro and Premiere Elements, do not import or decrypt encrypted DVD files.

More Help topics

Importing tapeless assets in Media Browser

www.mog-solutions.com/img_upload/PDF/MOG_SOLUTIONS_operational_patterns_NAB2007.pdf

Import assets from file-based sources with Media Browser

You can import assets into Premiere Pro directly from tapeless media. However, it is more efficient to transfer tapeless media contents to a hard disk before importing. Also, playback performance is much better from a dedicated internal hard drive or RAID than from a camera or memory card reader.

Use the Media Browser, instead of File > Import, to import files from tapeless sources. The Media Browser assembles the relevant files into coherent clips, and does not import irrelevant non-media files sometimes found in the folders of tapeless media.

1 (Optional) Transfer the entire contents of one or more P2 cards, Sony Compact Flash cards, XDCAM media,

XDCAM EX SxS cards, hard disk camcorders, DVDs, or AVCHD media to a hard disk. For information about transferring these media, see

Note: For XDCAM EX, copy the entire BPAV folder and its contents, not just one MP4 file at a time.

2 If the Media Browser is not already open, select Window > Media Browser.

Note: You can dock or group the Media Browser like any other panel in Premiere Pro.

3 Browse to the folder containing the media files.

The Media Browser shows a thumbnail or icon (depending on the format) and shot name for each shot in the folder. The Media Browser automatically aggregates spanned clips and shot metadata from the subfolders into single clips for any of these formats. The Media Browser shows different sets of metadata for different formats.

“About transferring files” on page 61.

4 (Optional) To preview a shot before importing it, double-click the shot in the Media Browser.

Premiere Pro plays the clip in the Source Monitor without importing it into the Project panel.

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5 Either select File > Import From Browser, drag clips from the Media Browser into the Project panel, or drag clips

from the Media Browser into a timeline.

The asset or assets are imported into the Project panel as whole clips.

More Help topics

“Create an HDV or HD sequence” on page 149

“Mapping source and output audio channels” on page 221

“Export to Panasonic P2 format” on page 437

About spanned clips

When a shot or take is recorded requiring more than the file size limit of a medium, a file-based camcorder starts another file, and continues recording the shot to that file without interruption. This is referred to as clip spanning because the shot spans more than one file or clip. Similarly, a file-based camcorder sometimes spans a shot across clips on different cards or disks, if the camcorder has more than one card or disk loaded. It records the shot until it runs out of room on the first medium, then starts a new file on the next medium with available space, and continues recording the shot to it. Although a single shot or take can be recorded to a group of multiple spanned clips, it is designed to be treated as a single clip.

For P2 and XDCAM EX, Premiere Pro imports all of the spanned clips within a single shot or take as a single clip. It will import all the clips within a shot on a card when you select any one of them, provided none of the spanned clips is missing and the relevant XML is present. When one or more spanned clips are missing from a shot, Premiere Pro will import one or more of them depending on where the missing clips fall within the shot.

To import a group of spanned clips, select one of them to import all of them. If you select more than one spanned clip, you will import duplicates of the whole group of spanned clips as duplicate clips in the Project panel.

If the group of spanned clips itself spans two P2 or XDCAM EX cards, copy the full directory trees from them both to same-level folders on the hard disk before importing. For P2 media only, you can alternatively import clips spanning two P2 cards if both cards are simultaneously mounted to your computer.

Colin Brougham explains how Premiere Pro works natively with tapeless media (no transcoding) in this article on the

ProVideo Coalition website.

Importing still images

You can import individual still images into Premiere Pro or import a numbered series of still images as a sequence. You can import still images from Adobe applications such as Photoshop and Illustrator. For information about the still-image formats that Premiere Pro imports, see

An imported still image uses the duration specified in the Still Image preferences. You can change the duration of a still image in a sequence.

The maximum frame size that can be imported for still images and movies is 256 megapixels, with a maximum dimension of 32,768 pixels in either direction. For more information,

“File formats supported for import” on page 58.

see this post on the Premiere Pro Work Area blog.

More Help topics

“Change speed and duration for one or more clips” on page 299

“Create and edit Photoshop files” on page 30

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Preparing still images before importing

Before you import a still image into Premiere Pro, prepare it as completely as possible to reduce rendering time. It’s usually easier and faster to prepare a file in its original application. Consider doing the following:

• Make sure that the file format is supported by the operating system you plan to use.

• Set the pixel dimensions to the resolution you will use in Premiere Pro. If you plan to scale the image over time, set

image dimensions that provide enough detail at the largest size the image has in the project.

• For best results, create files with a frame size at least as large as the frame size of the project so that you don’t have

to scale up the image in Premiere Pro. Scaling an image larger than its original size can cause loss of sharpness. If you plan to scale up an image, prepare it at a larger frame size than the project’s. For example, if you plan to scale up an image 200%, prepare the image at double the project frame size before you import it.

• Crop the parts of the image that you don’t want to be visible in Premiere Pro.

• If you want to designate areas as transparent, create an alpha channel or use the transparency tools in applications

such as Photoshop or Illustrator.

• If final output will be shown on standard television screens, avoid using thin horizontal lines (such as 1-pixel lines)

for images or text. These may flicker as a result of interlacing. If you must use thin lines, add a slight blur so that the lines appear in both video fields. See page 309.

• Save the file using the correct naming convention. For example, if you plan to import the file into Premiere Pro in

Windows, use a three-character filename extension.

• When you prepare still images in applications that support color management, such as Photoshop, colors may

appear more consistent between the application and Premiere Pro if you prepare images in a video-friendly color space, such as sRGB or NTSC RGB.

“Interlaced video, noninterlaced video, and progressive scanning” on

More Help topics

“Scale assets” on page 294

Importing Photoshop and Illustrator files

You can import files from Adobe Photoshop 3.0 or later, or from Adobe Illustrator. You can control how layered files are imported. Empty (transparent) areas of nonflattened files are transparent when imported into Premiere Pro, because the transparency is stored as an alpha channel. This lets you import graphics and superimpose them over clips in other tracks with no extra effort.

You can import layered Photoshop files either with selected layers imported as individual clips into a bin, with selected layers imported as individual clips into a bin and sequence, or with selected layers merged into a single video clip.

Also, you can import Photoshop files that contain video or animations if they are saved from Photoshop in timeline animation mode.

Note: Individual layers moved from a Photoshop composition into a Premiere Pro project may not behave as expected.

More Help topics

“Working with Photoshop and Premiere Pro” on page 28

“Create and edit Photoshop files” on page 30

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Import a layered Photoshop file

When you import a layered file saved in Photoshop file formats, you can choose how to import the layers in the Import Layered File dialog box.

Note: Some Photoshop layer attributes aren’t supported, such as special blending modes and the Knockout option. For best results, use basic transparency and opacity in Photoshop. Adobe modes.

Premiere Pro imports attributes that were applied in the original file, including position, opacity, visibility, transparency (alpha channel), layer masks, adjustment layers, common layer effects, layer clipping paths, vector masks, and clipping groups. Photoshop exports a white background as opaque white, whereas it exports a checkerboard background as a transparent alpha channel when exporting to a format that supports alpha channels.

Importing layered Photoshop files makes it easy to use graphics created in Photoshop. When Premiere Pro imports Photoshop files as unmerged layers, each layer in the file becomes an individual clip in a bin. Each clip’s name consists of the layer name followed by the name of the file that contained it. Each layer is imported with the default duration you select for still images in Preferences.

You can import Photoshop files containing video or animations like any other Photoshop file. Since each layer is imported at the default still-image duration, the imported video or animation may play back at a speed different from that of its source in the Photoshop file. To make the speed match, change the still image default duration before importing the Photoshop file. For example, if the Photoshop animation was created at 30 fps and the Premiere Pro sequence frame rate is 30 fps, set the still image default duration in Premiere Pro to 30 frames in Preferences.

Premiere Pro does support most Photoshop blending

The options you select in the Import Layered File dialog box determine how the layers in the video or animation are interpreted on import into Premiere Pro.

From the Import dialog box, when you select a Photoshop file containing layers for import, the Import Photoshop Document dialog box opens. The Import As menu gives you these options for ways to import the file:

Merge All Layers Merges all layers, importing the file into Premiere Pro as a single flattened PSD clip.

Merged Layers Merges only the layers you select into Premiere Pro as a single, flattened, PSD clip.

Individual Layers Imports only the layers you select from the list into a bin containing one clip for each source layer.

Sequence Imports only the layers you select, each as a single clip. Premiere Pro also creates a sequence containing each

clip on a separate track, and deposits all these into their own bin in the Project panel. Choosing Sequence allows you to select one of the following options from the Footage Dimensions menu:

• Document Size

Changes the frame size of the clips to match the frame size specified in the Sequence Settings dialog box.

• Layer Size Matches the frame size of the clips to the frame size of their source layers in the Photoshop file.

Note: When you import one layer as a single clip, its name in the Project panel consists of the layer name followed by the original filename.

Importing Illustrator images

You can import an Adobe Illustrator still-image file directly into a Premiere Pro project. Premiere Pro converts pathbased Illustrator art into the pixel-based image format used by Premiere Pro, a process known as rasterization. Premiere Pro automatically anti-aliases, or smooths, edges of the Illustrator art. Premiere Pro also converts all empty areas into an alpha channel, so that empty areas become transparent.

If you want to define the dimensions of the Illustrator art when it is rasterized, use Illustrator to set crop marks in the Illustrator file. For information about setting crop marks, see Illustrator Help.

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Even though the layers in Illustrator are merged in Premiere Pro you can edit the layers by selecting the clip and choosing Edit > Edit Original.

Import numbered still-image sequences as video clips

You can import an animation contained in a single file, such as an animated GIF. You can also import a sequence of numbered still-image files, such as a TIFF sequence, and automatically combine them into a single video clip; each numbered file becomes one frame of video. Importing a sequence is useful for animations exported as a series of numbered still images by applications like After Effects. The images in the series cannot include layers. For information on layers and flattening, see the application’s documentation.

1 Set the framerate for the still-image sequence. Select Edit > Preferences > Media (Windows), or Premiere Pro >

Preferences > Media. Then, select a framerate from the Indeterminate Media Timebase menu. Click OK.

2 Make sure that each still-image filename contains an equal number of digits at the end and has the correct file

extension—for example, file000.bmp, file001.bmp, and so forth.

3 Choose File > Import.

4 Locate and select the first numbered file in the sequence, select Numbered Stills, and click Open. When Numbered

Stills is selected, Premiere Pro interprets each of the numbered files as a single frame in a video clip.

Note: Changing the default duration of still images in the Preferences dialog box does not affect the duration of numbered stills imported into a video clip. Each still becomes one frame when imported in this way.

More Help topics

“Media preferences” on page 19

Importing digital audio

You can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored on computer hard disks, audio CDs, or digital audio tape (DAT) as binary data readable by computers. To keep quality as high as possible, transfer digital audio files to your computer via digital connections. Avoid digitizing the analog outputs from your audio sources through your sound card.

Note: To capture an audio-only file from a digital video source, choose Audio from the Capture menu in the Logging pane of the Capture panel. Premiere Pro does not support audio-only capture for some formats, such as HDV.

Using audio from audio CDs

You can use CD audio (CDA) files in a project, but before you can import them into Premiere Pro, you need to convert them to a supported file format, such as WAV or AIFF. You can convert CDA files using an audio application such as Adobe® Audition®.

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

Using compressed audio formats

Music stored in formats such as MP3 and WMA are compressed using a method that removes some of the original audio quality. To play back compressed audio, Premiere Pro must decompress the file and may need to resample it to match your output settings. Although Premiere Pro uses a high-quality resampler for this purpose, the best results come from using an uncompressed or CD audio version of the audio clip whenever possible.

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Using audio from Adobe Soundbooth

You can use Adobe® Soundbooth™ to perform advanced audio editing. If you export the audio from Adobe Soundbooth to an audio file format compatible with Premiere Pro, you can import the audio into Premiere Pro projects.

Audio sample rates supported

Premiere Pro natively supports these audio sample rates:

• 8000 Hz

• 11025 Hz

• 22050 Hz

• 32000 Hz

• 44100 Hz

• 48000 Hz

• 96000 Hz

Conforming audio

Premiere Pro processes each audio channel, including audio channels in video clips, as 32-bit floating-point data at the sequence sample rate. This processing assures maximum editing performance and audio quality. Premiere Pro conforms certain types of audio to match the 32-bit format and the sequence sample rate. If conforming is required, it is done when a file is imported into a project for the first time. Conforming takes some time and disk space. A progress bar appears at the lower right of the Premiere Pro window when conforming begins. Premiere Pro saves conformed audio in CFA audio preview files. You can determine where to save these audio preview files by specifying a Scratch Disk location for Audio Previews in the Project Settings dialog box.

You can work with audio files, even applying effects to them, before they are fully conformed. However, you can preview only the parts of the files that have been conformed. You cannot hear unconformed sections on playback.

These rules determine which types of audio get conformed:

Uncompressed audio

• Premiere Pro does not conform audio in uncompressed clips that were recorded in one of the natively supported

sample rates, when you use these clips in sequences with matching sample rates.

• Premiere Pro does conform audio in uncompressed clips when you use them in sequences with non-matching

sample rates. However no conforming is done until you export the sequences or create audio preview files.

• Premiere Pro does conform audio in uncompressed formats that were not recorded in a natively supported sample

rate. In most of these cases, it will upsample the audio either to the nearest supported sample rate, or to a supported sample rate that is an even multiple of the source audio sample rate. For example, it will upsample an 11024Hz source to 11025Hz, since that is the nearest supported rate, and there is no supported rate that is an even multiple of 11024.

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Compressed audio

• Premiere Pro does conform all compressed audio, such as audio found in mp3, WMA, MPEG, or compressed MOV

files. It conforms this audio at the sample rate of its source file. For example it will conform a 44100Hz mp3 file at 44100Hz. However, if the conformed audio is used in a sequence with a non-matching sampling rate, as when a 44100Hz clip is used in a 44000Hz sequence, the audio will play back at the sample rate of the sequence without further conforming.

Premiere Pro does not conform a file that was conformed in one sequence when you import it into another sequence with the same audio sample rate, so long as you haven’t moved or renamed the file since it was conformed. Premiere Pro keeps the location of the conform files for all files it has conformed in the Media Cache Database.

To avoid conforming, use audio editing software, or transcoding software, to convert your files to natively-supported

uncompressed formats at the supported sampling rates.

In addition to conforming some files, Premiere Pro also creates a PEK file for any file containing audio when it is first imported into a project. It uses these PEK files for drawing the audio waveforms in Timeline panels. Premiere Pro stores PEK files in the location specified for Media Cache Files through the Media pane of the Preferences dialog box.

Importing sequences, clip lists, libraries, and

compositions

Import clips from Adobe OnLocation projects using the Media Browser

In Adobe OnLocation, you can set In and Out points on clips. When you import a clip from an Adobe OnLocation project using the Media Browser, Premiere Pro retains these In and Out markers. You can mark the good segments of clips in Adobe OnLocation, and select only the good segments for importing into Premiere Pro.

1 (Optional) If necessary, copy the Adobe OnLocation project and clips to the machine running Premiere Pro.

2 (Optional) If the Media Browser is not open, select Window > Media Browser to open it.

3 In the Media Browser, browse to the desired Adobe OnLocation project file, and select it.

4 From the View As menu, select Adobe OnLocation Project.

The clips contained in the selected Adobe OnLocation project file appear in the pane on the right side of the Media Browser. You can sort clips by their metadata fields.

5 Select the clips desired.

6 Do one of the following:

• Select File > Import From Media Browser,

• In the Media Browser, right-click any of the selected clips. Select Import.

• Drag the clips from the Media Browser and drop them into the Project panel.

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Importing earlier Premiere Pro projects

You can add the contents of a project made with Premiere Pro CS3 on either Mac OS or Windows. In addition, on Windows, you can import a project made with earlier versions of Premiere Pro, or Premiere 6.0 or 6.5. The imported project’s clips and sequences are added to the Project panel in a bin named after the imported project. The bin hierarchy of the imported project is maintained within its new bin. Discontinued transitions and effects are not maintained. Use caution when importing a project into another project with a different time base or audio sample rate, because these differences may affect edit positioning and audio quality.

Importing a project into another project is the only way to transfer its complete sequence and clip information.

Also, you can open projects made with Premiere Pro for Windows, including any contents that may have been imported from earlier versions, in Premiere Pro for Mac OS.

Note: In earlier versions of Adobe Premiere, storyboards were stored in files independent of project files. Premiere Pro contains all storyboard features within the Project panel. On Windows, you can import storyboard files created in earlier versions by choosing File

> Import.

Import selected sequences from Premiere Pro projects

You can import one or more sequences of your choosing from another Premiere Pro project.

To make the assets for a sequence easy to import with the sequence, first consolidate the project that contains the

sequence. Collect the files and copy them to a new location with the Project Manager.

1 Select File > Import, and browse to the project file containing the desired sequence or sequences, and select them.

2 Click Open.

3 In the Import Project dialog box, choose whether to import the entire project or selected sequences, and click OK.

4 In the Import Premiere Pro Sequence dialog box, select each sequence you want to import, and click OK.

Import a Premiere Elements project (Windows only)

1 Select File > Open Project.

2 Browse to an Adobe Premiere Elements project file, with file extension PREL.

3 Click Open.

Premiere Pro converts the Premiere Elements project file to a Premiere Pro project file.

Importing libraries (Windows only)

Adobe Premiere 6.5 supports containers called libraries, which store clips from one or several projects in files. A library (PLB) is a file apart from any project file. Although Premiere Pro doesn’t directly support libraries, it allows you to import PLB library files, in Windows only. A library converts to a bin when you import it into a Premiere Pro project. To store a set of clips to make them available for other projects, simply save a project that contains the clips, and import that project into other projects.

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Importing After Effects compositions

You can import After Effects compositions like any other supported file type by using the File > Import command. You can export a Premiere Pro project file from After Effects and open it for editing in Premiere Pro. You can also copy and paste layers and assets between Premiere Pro and After Effects. If you have Adobe Creative Suite Production Premium, or Adobe Creative Suite Master Collection installed, you can create or import After Effects compositions by using Adobe Dynamic Link. You can also select clips in a Premiere Pro timeline and replace them with an After Effects composition via Adobe Dynamic Link. Adobe Dynamic Link allows changes made to a file in either application to appear in both, instantaneously, without a need for rendering.

To move an After Effects project from another computer to the one on which you are running Premiere Pro, make sure

to move all the files associated with the After Effects project.

More Help topics

“About transferring files” on page 61

Copying and pasting between After Effects and Premiere Pro

“About Dynamic Link (Production Premium or Master Collection only)” on page 36

“Create an After Effects composition from clips in Premiere Pro (Production Premium only)” on page 40

Import After Effects compositions

1 Do one of the following:

• Select File > Import, and browse to the desired AEP file.

• (Production Premium only) Select File > Adobe Dynamic Link > Import After Effects Composition.

2 Select the AEP file and click Open.

If the After Effects project contains more than one composition, the Import After Effects Composition dialog opens.

3 Select one or more compositions. Shift-click to select contiguous compositions. Ctrl-click (Windows), or

Command-click (Mac OS) to select non-contiguous clips.

Premiere Pro imports the selected After Effects compositions and places them into the Project panel. If you selected more than one composition. Premiere Pro creates a bin with the name of the AEP file, and places the compositions within that bin.

Import CMX3600 EDL projects

You can import project files in the EDL file format.

1 Select File > Import, and browse to the project file containing the desired EDL file, and select it.

2 Click Open.

Importing XML project files from Final Cut Pro

You can import entire projects, selected clips, or selected sequences that you export from Final Cut Pro as XML files. In Premiere Pro, bins and clips have the same hierarchies and names that they have in the Final Cut Pro source projects. Also, Premiere Pro retains the sequence markers, sequence settings, track layout, locked tracks, and sequence timecode start points of Final Cut Pro source projects. Premiere Pro imports text from the Final Cut Pro Text generators into Premiere Pro titles.

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Note: You cannot import native Final Cut Pro project files, only XML files exported from Final Cut Pro. You can export Final Cut Pro XML files from Premiere Pro. The effects that are tranlated from Premiere Pro are the same as those that are imported from a Final Cut Pro XML f ile.

Joost van der Hoeven provides a video tutorial on the Adobe website that demonstrates exchanging information between Final Cut Pro and Premiere Pro using XML projects.

For a list of items in Premiere Pro that are translated from a Final Cut Pro XML file, see “Final Cut Pro clip data” on page 75, “Final Cut Pro effects and transitions” on page 75, “Final Cut Pro composite modes” on page 77, and “Final

Cut Pro Multiclips” on page 77. Also, see the PDF, “Appendix D: Working with Final Cut Pro from the Editor’s Guide to Premiere Pro,” by Richard Harrington, Robbie Carman, and Jeff Greenberg for more information.

See this blog post about the Premiere Pro CS5 (5.0.2) updates, which features several improvements to Final Cut Pro

XML export.

Robbie Carman explains the process of exporting a Final Cut Pro project and then importing it into Premiere Pro in

this video tutorial on AdobeTV. Information about reading errors in the Translation Report is included.

Additional resources about importing Final Cut Pro projects are linked to from this article on the Adobe website.

More Help topics

“Export a Final Cut Pro project XML file” on page 444

Import an XML file from Final Cut Pro

1 Export an XML file from Final Cut Pro. For more information, see Final Cut Pro Help.

2 In Final Cut Pro, close the source project.

3 In Premiere Pro, select File >Import.

4 Browse to the XML file, and click Open.

More Help topics

“Export a Final Cut Pro project XML file” on page 444

Final Cut Pro clip data

Clip data in the Description, Scene, ShotTake, and LogNote fields in Final Cut Pro appear in the clip metadata fields with the same names in Premiere Pro.

Final Cut Pro effects and transitions

Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects. Additionally, Premiere Pro converts some Final Cut Pro effects and transitions according to the following tables:

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Conversion of Final Cut Pro video effects

Final Cut Pro effect

Crop Crop

Premiere Pro effect

Eight-Point Garbage Matte

Four-Point Garbage Matte

Gaussian Blur (provided the channel selection in Final Cut Pro is Alpha+RGB.)

Luma Key Luma Key

Three-Way Color Corrector

Eight-Point Garbage Matte

Four-Point Garbage Matte

Gaussian Blur

Three-Way Color Corrector

Conversion of Final Cut Pro video transitions

Final Cut Pro transition

Dip To White Dip To White

Dip to [color] Dip To Black

Edge Wipe transitions

Premiere Pro transition

Wipe, with the wipe direction rounded to the closest of the eight Premiere Pro supported directions.

Conversion of Final Cut Pro audio effects

Final Cut Pro audio effect

Audio level values and keyframes

Audio pan values and keyframes

Low Pass Filter Lowpass

High Pass Filter Highpass

Band Pass Filter Bandpass

Premiere Pro audio effect

Audio clip volume values and keyframes

Track pan values and keyframes

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Conversion of Final Cut Pro audio transitions

Final Cut Pro audio transition

Premiere Pro audio transition

Cross Fade dB)

(+3

Other transitions

Constant Gain

Constant Power

Final Cut Pro composite modes

Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects. Premiere Pro converts Final Cut Pro composite modes according to the following table:

Final Cut Pro mode

Normal Normal

Add Linear Dodge (Add)

Subtract Not supported

Difference Difference

Multiply Multiply

Screen Screen

Overlay Overlay

Premiere Pro mode

Hard Light Hard Light

Soft Light Soft Light

Darken Darken

Lighten Lighten

Travel Matte Alpha

Travel Matte Luma

Not supported

Final Cut Pro Multiclips

Premiere Pro converts uncollapsed Final Cut Pro Multiclips, with as many as four inputs, to Multi-camera sequences. Premiere Pro converts collapsed Multiclips to individual clips.

Note: Premiere Pro issues a warning when you try to import a Multiclip with more than four inputs.

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Capturing and digitizing

Andrew Devis demonstrates capturing and batch capturing from miniDV tape using Adobe Premiere Pro in this video

tutorial on the Creative Cow website.

About capturing and digitizing

To bring footage that is not already in the form of a file or set of files into a Premiere Pro project, you can capture it, or digitize it, depending on the type of source material:

Capture You capture digital video from a live camera or from tape: you record it from the source to the hard disk.

Many digital camcorders and decks record video to tape. You capture the video from tape to the hard disk before using it in a project. Premiere Pro captures video through a digital port, such as a FireWire or SDI port installed on the computer. Premiere Pro saves captured footage to disk as files, and imports the files into projects as clips. You can use Adobe After Effects to start Premiere Pro and start the capture process. Alternatively, you can use Adobe OnLocation to capture video.

Digitize You digitize analog video from a live analog camera source or from an analog tape device. You digitize the

analog video, convert it to digital form, so your computer can store and process it. The capture command digitizes video when a digitizing card or device is installed in the computer. Premiere Pro saves digitized footage to disk as files, and imports the files into projects as clips.

For a video tutorial on capturing and importing assets, see www.adobe.com/go/vid0231.

Note: While capturing footage, you can monitor audio levels in the Audio Master Meters panel.

More Help topics

Importing footage into Premiere Pro

“Importing assets from tapeless formats” on page 65

System requirements for capturing

To capture digital video footage, your editing system needs the following components:

• For DV or HDV footage, one of the following:

• an OHCI-compliant IEEE 1394 (FireWire, i.Link) port or capture card

• a non-OHCI-compliant IEEE 1394 capture card with presets, drivers, and plug-ins written specifically for

Premiere Pro.

• For HD or SD footage playable on a device with SDI or component outputs, a supported HD or SD capture card

with SDI or component inputs.

• For HD or SD footage stored on media from file-based camcorders, a device connected to your computer capable

of reading the respective media.

• For recording audio from analog sources, a supported audio card with an analog audio input.

• A codec (compressor/decompressor) for the type of footage you want to capture. Premiere Pro has its own codecs

for importing DV and HDV footage. Plug-in software codecs are available for other types. Hardware codecs are built in to some capture cards.

• A hard disk capable of sustaining the data rate for the type of footage you want to capture.

• Sufficient disk space for the captured footage.

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Note: Your operating system or hard disk format could limit the length of a captured clip.

• A project that was created using a preset in the New Project dialog box in which all settings match the footage you

plan to capture.

Note: Some DV and HDV camcorders require a connection to their power adapters to activate their IEEE 1394 ports. Other camcorders go into sleep mode or demo mode if left in the camera mode without tape activity for a period. To avoid these problems, connect your camcorder to its power adapter when setting it up for capturing or dubbing video. If the camcorder goes into demo mode with the power adapter connected, disable this feature using the camcorder menu system.

Set capture format, preferences, and tracks

Use the Capture panel (choose File > Capture) to capture digital or analog video and audio. This panel includes a preview, which displays video being captured, and controls for recording with or without device control. The Capture panel also contains a Settings pane for editing your capture settings, and a Logging pane for logging clips for batch capturing. For convenience, some options available in the Capture panel are also available in the Capture panel menu.

You can control certain source devices, such as camcorders and decks, directly from the Capture panel. Your computer must have an IEEE1394, RS-232, or RS-422 controller compatible with Premiere Pro. If your source device lacks any of these interfaces, you still use the Capture panel. You must cue, start, and stop your source device using its controls.

Note: When not capturing in Adobe Premiere Pro, close the Capture panel. The Capture panel assumes primary focus, so leaving it open while editing or previewing video disables output to the source device. Leaving the Capture panel open also may decrease performance.

A CB D

Capture panel A. Status area B. Preview C. Tabs D. Panel menu E. Transport controls

More Help topics

“Optimizing scratch disk performance” on page 49

“Setting up your system” on page 41

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Specify capture settings

1 With a project open, choose File > Capture, and select the Settings tab.

2 In the Capture Settings pane, click Edit.

3 In the Capture Settings dialog box, select an option from the Capture Format menu.

4 Click OK.

Note: When capturing DV formats, Premiere Pro will use QuickTime as the container for the DV codec in Mac OS and AVI is used for Windows. When capturing HDV, Premiere Pro will use MPEG as the format. For other formats, you must use a video capture card for digitizing or capturing. See on page 88.

“Digitizing analog video” on page 90 and “Capturing HD video”

Set capture preferences

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

2 Specify whether you want to cancel capture on dropped frames, report dropped frames, or generate a batch log file.

3 Specify whether to use device control timecode. If a device controller is installed, Premiere Pro can record the

timecode supplied by the controller instead of recording any timecode written to the source tape.

Select tracks for capture

1 To open the Capture panel, select File > Capture.

2 In the Capture panel, click the panel menu.

3 Select Record Video, Record Audio, or Record Audio and Video, depending on the option desired.

Capture from stereo sources to mono tracks

You can capture from sources containing stereo or 5.1 audio channels so that each audio channel maps to its own mono audio track automatically. The Mono Default Track Format preference enables this behavior for footage captured from multi-channel sources, and for imported multi-channel files. For more information about audio channel mapping, see

1 Select Edit > Preferences > Audio (Windows), or Premiere Pro > Preferences > Audio (Mac OS).

In the Source Channel Mapping pane of the Preferences dialog box, select Mono from the Default Track Format menu.

3 Click OK.

“Mapping source and output audio channels” on page 221.

File size limits

Premiere Pro does not limit the size of files. However, your capture card, operating system, or hard disk can set such a limit. Check your capture card and hard disk documentation for information on support of large files.

The format of your hard disk greatly affects its ability to handle large files. FAT32 formatting limits each file to 4 GB, or about 18 minutes of DV footage. NTFS formatting does not limit file size. It is best to use NTFS-formatted disks as the scratch disks where you capture video and for the target hard drives where you export video files. However, other components of your video editing system can limit file size.

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Set up device control

You can use device control to manage and automate video capture and to export sequences to tape. Device control lets you precisely control devices, such as decks and camcorders, with capture and batch capture controls. With device control, you can use the Capture panel to log each clip and then use the Batch Capture command to record logged clips automatically.

Premiere Pro controls devices through its built-in support of IEEE 1394 (FireWire, i.Link) and third-party support for RS-232 and RS-422 controllers. Regardless of type, if your device isn’t automatically recognized, you can set it up manually. Before setting up device control, make sure that you have a tape deck or camcorder that supports external device control, and a cable that connects the device to your controller, computer, or both.

Set up a project for device control

Some device control settings are available when you choose Edit > Preferences > Device Control (Windows) or Premiere Pro > Preferences > Device Control (Mac OS). Others are in the Device Control section at the bottom of the Settings pane of the Capture panel. Device control settings apply to the entire project.

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

2 Select one or more of the Capture options. If you are using a device controller that generates its own timecode, select

Use Device Control Timecode. Use Device Control Timecode replaces the unreadable timecode recorded on the tape with the controller’s timecode. Click OK.

3 If you want to save captured clips to a specific bin in a project, first open the project . Before capturing, make sure

that the bin exists in the Project panel.

4 Choose File > Capture.

5 In the Settings panel, click Edit to verify that the capture format specified in the Capture Settings dialog box is

appropriate for your device. Click OK.

Note: Not all formats have options for capture settings. For example, the HDV format has no options.

6 In the Capture Locations section of the Settings panel, make sure that the disk drives you designate for captured

video and audio have sufficient free space. If you want to change the locations, click the corresponding Browse button, set the location, and click OK.

7 In the Device Control section, if device control has not been set up, choose a device from the Device menu. Click

Options to set it up. Options vary depending on the device; see the documentation for your device driver.

8 Test the device control buttons in the Capture panel to verify that they work. If video preview is supported for the

format, make sure that you see video in the preview.

9 Click Logging. In the Setup area, choose Audio, Video, or Audio And Video from the Capture menu depending on

what you want to capture. Select a bin from the Log Clips To list if needed. By default, the Project panel is selected in the Log Clips To field.

10 Enter information into the Clip Data area as needed. This information is saved in the metadata of the clip.

Note: To avoid confusion, make sure that the tape name is unique. Some types of device control software ask you to specify the Tape Name setting each time you insert a new tape. The other Logging Data options aren’t required.

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Set up a device for device control

Premiere Pro supports the control of devices such as camcorders and VTRs. Premiere Pro controls DV and HDV devices by way of IEEE 1394 (FireWire, i.Link) connections. Premiere Pro controls serially-controlled devices by way of third-party RS-232 or RS-422 controllers installed on the computer.

1 To open the Device Control Preferences dialog box, choose Edit > Preferences > Device Control (Windows) or

Premiere Pro > Preferences > Device Control (Mac OS).

2 Select the type of device you want to control from the Devices menu.

3 Click Options.

4 (Optional) If you are connecting a DV or HDV device, make your selections from the Video Standard, Device

Brand, Device Type, and Timecode Format menus. In the Device Type menu, if your particular model is not listed, do one of the following:

• select a model from the same family (if known),

• leave at Standard,

• click Go Online For Device Info.

5 If you are connecting a serial device, make your selections from the Protocol, Port, Time Source, and Time Base

menus. Check either or both checkbox selections available for the Protocol you choose.

6 (DV/HDV Device Control only) Click Check Status. Premiere Pro displays one of the following statuses:

Offline Premiere Pro does not see your device. Check all your connections and settings.

Detected Premiere Pro sees your device but cannot control the tape (possibly because there is no tape inserted).

Online Premiere Pro sees your device and can control the tape.

7 Click OK.

8 In the Device Control section of the Settings pane, specify the following options as needed:

Preroll Time Indicates how much before the In point Premiere Pro starts playing the tape before capture. The

appropriate value varies depending on the device you are using.

Timecode Offset Indicates the number of frames to adjust the timecode embedded in the captured video. Set the offset

so that the timecode corresponds with the timecode number of the same frame on the source tape.

Select a device for device control

1 In the Capture panel, select the Settings tab.

2 From the Device menu, select the type of device you want to control .

3 Click Options.

4 (Optional) If you are connecting a DV or HDV device, make your selections from the Video Standard, Device

Brand, Device Type, and Timecode Format menus. In the Device Type menu, if your particular model is not listed, do one of the following:

• select a model from the same family (if known),

• leave at Standard,

• click Go Online For Device Info.

5 If you are connecting a serial device, make your selections from the Protocol, Port, Time Source, and Time Base

menus. Check either or both checkbox selections available for the Protocol you choose.

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6 (DV/HDV Device Control only) Click Check Status. Premiere Pro displays one of the following statuses:

Offline Premiere Pro does not see your device. Check all your connections and settings.

Detected Premiere Pro sees your device but cannot control the tape (possibly because there is no tape inserted).

Online Premiere Pro sees your device and can control the tape.

7 Click OK.

8 In the Device Control section of the Settings tab, specify the following options as needed:

Preroll Time Indicates how much before the In point Premiere Pro starts playing the tape before capture. The

appropriate value varies depending on the device you are using.

Timecode Offset Indicates the number of frames to adjust the timecode embedded in the captured video. Set the offset

so that the timecode corresponds with the timecode number of the same frame on the source tape.

Calibrate an RS-422 or RS-232 device (third-party only)

1 Select File > Export > Export To Tape.

2 Click Options.

3 Enter the number of offset frames, as appropriate for your device, to the Delay Movie Start, Manual Edit Timing,

and Preroll boxes.

Control an RS-422 or RS-232 device (third-party only)

1 Select Edit > Preferences > Device Control.

2 From the Devices menu, select Serial Device Control.

3 Click Options.

4 In the VTR And Port Control section, select a protocol and port for your device.

5 In the Time Control section, select a time source and timebase for your device.

Device controls in the Capture panel

You can use the controls in the Capture panel to operate the device as you log clips. The jog control lets you navigate quickly to nearby frames. The shuttle control lets you change the speed of the tape as you play it forward or backward. The Record button lets you begin a manual capture.

If you press the Rewind button when the tape is stopped, the device rewinds the tape at full speed. If you rewind when the tape is playing or paused, the device rewinds while displaying video in the preview.

If you press the Fast Forward button when the tape is stopped, the device moves the tape forward at full speed. If you fast forward when the tape is playing or paused, the device moves the tape forward while displaying video in the preview.

If you press the Previous Scene button, the tape shuttles to the previous start point and pauses. If you press the Next Scene

button, the tape shuttles to the start point of the next scene and pauses.

Note: Previous Scene and Next Scene are supported for DV in Windows only, and not supported for HDV for either Windows or Mac OS.

You can also press the J, K, and L keys to control your device. J rewinds the tape; L fast forwards it, and K pauses it. The speed of forward or reverse increases each time you press J or L. To rewind or forward one frame at a time, hold down K and press J or L once. To slowly rewind or forward, hold down K+J or K+L.

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To operate Capture panel controls using the keyboard, see the tool tips in the Capture panel. You can change the

shortcuts by choosing Edit > Keyboard Customization. To shuttle a tape quickly to a specific frame type its timecode into the Capture Panel’s current timecode field, to the lower left of the monitor. Press Enter (Windows) or Return Mac OS).

Disable device control

1 Open the Device Control Preferences dialog box by doing one of the following:

• Choose Edit > Preferences > Device Control (Windows) or Premiere Pro > Preferences > Device Control (Mac OS).

• In the Capture panel, click Settings.

2 From the Devices menu, choose None.

3 Click OK.

Note: When device control is disabled, start playback on the device manually.

Capture without device control

If you do not have a device that Premiere Pro controls, you can capture video manually. You manually operate both the playback device controls and the Capture panel controls in Premiere Pro.

Note: Preview HDV footage on an external TV monitor, or, if the source is a camcorder, on the camcorder viewfinder while shuttling, logging, and capturing on Mac OS. The preview pane in the Capture panel shows the words Previewing On Camera.

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

2 Choose File > Capture.

3 (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your

project.

These settings are preserved for the project, but you can set them again for each new project.

4 In the Setup area of the Logging pane, choose your media type from the Capture menu.

5 Use the controls on the deck or camcorder to move the videotape to a point several seconds before the frame where

you want to begin capturing.

6 Press the Play button on the deck or camcorder, and then click the red Record button in the Capture panel.

7 Record a few seconds beyond the end of the footage you need, to provide room for editing. Press the Esc key to stop

recording.

When the Save Captured File dialog box appears, enter logging data and click OK. The new file is listed in the Project panel and is saved to the disk location specified in the Settings pane of the Capture panel.

Capture with device control

After a device and the project are set up properly, you can begin capturing clips using device control. You can capture an entire tape or you can mark In and Out points for each clip, and then capture the clip. You can log In and Out points for any number of clips and have Premiere Pro capture as many as you like in a batch. Premiere Pro supports FireWire device control, but supports serial device control by third-party drivers only.

Note: On Mac OS, preview HDV footage on an external TV monitor, or, if the source is a camcorder, on the camcorder viewfinder while shuttling, logging, and capturing. The preview pane in the Capture panel shows the words Previewing On Camera.

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Note: When capturing with In and Out points, the earliest allowable time for the In point is 2 seconds. If the provided In point is earlier, it will be automatically adjusted to start at 2 seconds.

For details about capturing tape from an AJA device and setup in Premiere Pro CS5.5 and later, see this video by Walter Biscardi.

More Help topics

“Set up device control” on page 81

Capture an entire tape or portion of a tape

1 Choose File > Capture.

2 (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your

project.

These settings are preserved for the project, but you set them again for each new project.

3 In the Capture panel, make sure that the device is online, as indicated above the preview.

4 Insert a tape into the device. Premiere Pro prompts you to name the tape. Be sure not to give any two tapes the same

name.

Including a unique number in the name can help you avoid using the same name twice.

5 In the Setup area of the Logging pane, choose the media type from the Capture menu.

6 Rewind the tape to its beginning, or to the beginning of the portion you want to capture.

7 To create a separate file (Windows) or a subclip (Mac OS) for each new scene on the tape, select Scene Detect in the

Capture area.

8 You can capture frames that extend beyond the In and Out points of each clip. Enter the number of frames in the

Handles box in the Capture area.

9 Click Tape.

10 To stop capturing at the end of a portion, click the Stop button. Otherwise capturing stops when the tape comes to

its end.

Select and capture a clip

1 Choose File > Capture.

2 (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your

project.

These settings will be preserved for the project, but you may need to set them again for each new project.

3 In the Capture panel, make sure that the device is online, as indicated above the preview.

Insert a tape into the device. Premiere Pro prompts you to name the tape. Be sure not to give any two tapes the same name.

5 In the Setup area of the Logging pane, choose the media type from the Capture menu.

6 Use the controls in the Capture panel to move to the first frame you want to capture, and click Set In. Then move

to the last frame you want to capture, and click Set Out.

Note: If capturing HDV footage on Mac OS, you must preview on an external TV monitor or camcorder viewfinder while logging. The preview pane in the Capture panel will show the words Previewing On Camera.

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7 If you want to capture frames that extend beyond the In and Out points of each clip, enter the number of frames in

the Handles setting of the Capture section.

8 Click the In/Out button in the Capture area of the Logging pane to capture the clip.

Determine whether your device is online

1 Select File > Capture.

2 (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your

project.

These settings will be preserved for the project, but you may need to set them again for each new project.

3 Select the Settings tab in the Capture panel.

4 In the Device Control area of the Settings tab, click Options.

5 In the DV/HDV Device Control Settings dialog box, click Check Status.

Log clips with automatic scene detection

Scene Detect can greatly speed up the process of logging clips. As you capture video, Scene Detect logs a clip wherever there is a break in a tape Time/Date stamp. With Scene Detect, Premiere Pro automatically captures a separate file (Windows) or creates a master clip with a subclip (Mac OS) at each scene break. On Mac OS, Premiere Pro places the subclips in a new bin. Scene Detect works whether you capture an entire tape or just a section between specific In and Out points. Scene Detect creates clips even between defined In and Out points, if it detects a scene break.

Scene Detect logs scenes for batch capturing without altering the tape’s progress. It also logs scenes that occur across timecode breaks.

Tracy Peterson provides a video tutorial that demonstrates automatic scene detection on the Adobe website.

❖ In the Capture panel, do either of the following:

• Click the Scene Detect button below the image.

• Select Scene Detect in the Capture area of the Logging pane.

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Scene Detect starts a separate file (Windows) or subclip (Mac OS) at the first frame of each scene

Note: Scene detection works for DV, HDV 1080i, and HDV 720p footage.

Common capture issues

If you run into problems while capturing digital footage, refer to Premiere Pro Help or the documentation for your camera, deck, or capture card. For more information, check following are common issues that may arise when you capture digital video:

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

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

• If video looks grainy in the Capture panel or Monitor panel, Premiere Pro may have decreased display quality to

preserve capture quality. Video is captured and stored at the quality you determine and always plays at that quality on an NTSC or PAL monitor. On slower systems, Premiere Pro may lower the quality of the capture preview in order to ensure that sufficient CPU resources are available for full-quality capture.

• If the video image does not appear in the Capture panel, verify your device control and capture settings. Then,

leaving the device on, restart Premiere Pro.

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

between shots. Blank tape areas lack timecode, which may cause interruptions in the camera time mode. When you capture the blank area, the camera doesn’t transmit valid frames, but time continues to be marked.

• If no audio is recording, try playing a source through the computer’s sound input and speaker system without

recording. If you can’t hear it, the audio source may not be connected properly or audio parameters may not be set properly. Check hardware connections, Sounds And Audio Devices in the Windows Control Panel, and mixer settings, and refer to the documentation for your sound card. In Premiere Pro, select Edit > Preferences (Windows) or Premiere Pro > Preferences (Mac OS), and check the settings for Audio, Audio Hardware, and Audio Output Mapping.

Troubleshoot digital video capture and playback. The

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• When shuttling, logging, and capturing HDV footage on Mac OS, the preview pane in the Capture panel will

remain blank. You must preview this footage on an external TV monitor or, when the source device is a camcorder, on its viewfinder.

More Help topics

Troubleshoot digital video capture and playback

Capturing DV or HDV video

You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port.

You can capture DV or HDV footage from XDCAM or P2 devices. You can capture through SDI ports if your computer has a supported third-party capture card or device installed. Also, your computer must have the respective drivers.

In a sequence made with one of the DV or HDV presets, the capture settings are set for DV Capture or HDV Capture, respectively. You can, however, change the capture settings to either DV or HDV from within the Capture panel in an established project.

You can choose whether to preview DV video in the Capture window during preview and capture. You can also preview HDV footage in the Capture window, in Windows only. However, you cannot preview HDV footage in the Capture window during capture. Instead, the word Capturing appears in this window during HDV capture.

Important: You can transfer and import DVCPRO HD assets, XDCAM HD, and XDCAM EX assets, and AVCHD assets from their media without capturing. Capturing takes longer than transferring, and does not preserve all metadata. For more information, see

“Importing assets from tapeless formats” on page 65.

More Help topics

“Set up a DV or HDV system” on page 42

“Capture with device control” on page 84

“Export a sequence to tape with device control” on page 446

Capturing HD video

You can capture audio and video from an HD device with an SDI port. Your computer must have a supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD footage from XDCAM SDI sources provided a supported XDCAM capture card is installed, along with its respective driver. Correct installation adds HD presets to the Available Presets pane of the New Sequence dialog box. It also adds HD formats to the Capture Format menu on the General tab of the Project Settings dialog box.

You typically connect the HD device to your computer by connecting its SDI ports by coaxial cable with BNC connectors. To provide device control (Windows only), you also connect the serial port on the device with an RS422 or RS-232 port on the computer. See the setup instructions provided by the capture card manufacturer.

For details about capturing tape from an AJA device and setup in Premiere Pro CS5.5 and later, see this video by Walter Biscardi.

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Important: You can transfer and import DVCPRO HD assets, XDCAM HD and XDCAM EX assets, and AVCHD assets from their media without capturing. Capturing takes longer than transferring, and does not preserve all metadata. For more information, see

“Importing assets from tapeless formats” on page 65.

More Help topics

“Set up an SD-SDI, HD-SDI, or component system” on page 43

“Set up device control” on page 81

“Capture without device control” on page 84

Create clips for offline editing

For online editing, you edit clips at the level of quality required for the final version of the video program. This is the default method of working in Premiere Pro. Online editing works well when the speed and storage capacity of the host computer are adequate to the demands of the video formats used. For example, most modern computers can handle the data rate of DV in full resolution. They may be challenged, however, by the greater demands of, for example, HDV or HD footage. For many videographers, that’s where offline editing comes in.

In offline editing, after capturing high-resolution clips, you make low-resolution copies of them for editing purposes. After editing, you replace the low-resolution footage associated with the clips with the high-quality original footage. You can finish, render, and export your final product in high-resolution. Editing the low-resolution clips allows standard computers to edit excessively large assets, such as HDV or HD footage, without losing performance speed. It also lets editors use laptop computers to edit—for example, while on location.

You may edit a project with the high-resolution footage remaining online throughout the project. On the other hand, you may edit in a two-phase workflow. You make your initial creative decisions with the high-resolution footage offline. Then you bring the high-resolution footage back online for fine-tuning, grading, and color correction.

You can complete an offline edit of, for example, an HD project with Premiere Pro, and then export your project to EDL for transfer to an editing system with more powerful hardware. You can then perform the final online edit and rendering, at full resolution, on the more powerful hardware.

Create low-resolution clips for offline editing

1 Capture or import assets into the Project panel at full resolution.

2 In the Project panel, click the New Bin button, and name a bin for your low-resolution clips.

3 Launch Adobe Media Encoder, and add all the clips for your project to the Adobe Media Encoder Queue.

4 In Adobe Media Encoder, click Settings.

5 Change the format and other settings to the format and settings for a lower-resolution format.

6 Click the filename in the Output Name field, and browse to the folder you created for your low-resolution clips.

7 Click OK.

8 Click Start Queue.

Adobe Media Encoder encodes clips in the low-resolution format, and, by default, retains the filename of the original clips in the filenames of the encoded clips.

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Note: When creating low-resolution clips for offline editing with Adobe Media Encoder, clips with two audio channels are created even if you have four or more audio channels on your footage. This problem is a limitation of Adobe Media Encoder, so use an alternate tool if the other audio channels are to be preserved.

9 In the Premiere Pro Project panel, open the bin you created for low-resolution clips. Import the low-resolution clips

into this bin.

10 Edit the project using the low-resolution clips.

Replace low-resolution clips with high-resolution clips for online editing

You can replace low-resolution copies of assets with the original high-resolution so that you can render a project at full resolution.

1 Select Clip > Replace Footage. Browse to the original high-resolution clip that has the same filename as the low-

resolution clip you selected, and select it. Click Select.

2 Repeat the previous two steps for each low-resolution clip used in the project.

Digitizing analog video

In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer. Alternatively, you can dub the analog footage to a digital format, and then capture the video from a digital device through a capture card as any other digital source. Depending on your equipment, you may be able to digitize analog video from any of several signal types, including component video, composite video, and S-Video. Some third-party digitizers provide device control. They connect to your source device through RS-232 or RS-422 ports, enabling you to control the device through Premiere Pro’s Capture panel and to perform batch capturing. Refer to the instructions included with your camcorder and digitizer/capture card. For information on troubleshooting analog video capture,

Troubleshoot analog capture problems in Premiere Pro.

go to

More Help topics

“Set up an S-Video or composite system” on page 45

“Capturing analog audio” on page 231

Troubleshoot analog capture problems in Premiere Pro

About capture card settings

Some of the capture settings you see in Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because of the differences among brands of cards, specific options and supported formats can vary. This complex relationship between video capture cards and Premiere Pro can make it difficult to identify which part of the system is responsible for a particular option or problem. Adobe, as well as most capture card manufacturers, provides troubleshooting documents online that can help you determine whether an option or problem is related to the video capture card and its software or to Premiere Pro. Check the Premiere Pro website and the capture card manufacturer’s website for troubleshooting resources.

Most of the supported capture cards install a settings file (preset) that you can select in the Premiere Pro New Project dialog box, in the Load Preset pane. This preset automatically sets all capture settings for optimal support of your capture card. For best results, use your capture card’s preset, if provided, and don’t change the capture settings in the Custom Settings pane.

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Digitize analog video

1 Exit from Premiere Pro.

2 Connect the analog device’s video and audio outputs to the digital device’s (digitizer, digital camcorder or digital

deck) analog inputs.

3 If the digital device is an external digitizer, deck, or camcorder, connect its FireWire or SDI port to the computer’s.

4 If the third-party digital device is a digitizer with device controls (and has device drivers for Premiere Pro), connect

its device control port (RS-232 or RS-422) with the same type port on the analog device.

5 Turn on the analog source and the digitizing device.

6 If the digitizing device is a camcorder, put it into VTR, VCR, or Play (not Camera) mode.

7 Set the input selection control on the digitizing device to the correct analog input.

8 Start Premiere Pro.

9 When the Welcome screen appears, do one of the following:

• To start a new project using a capture card, click New Project, select the capture card’s preset (if available) from the

Load Preset pane, and click OK.

• To open an existing project using a capture card, select an existing project that was set up with the capture card’s

preset.

• To start a new project using an external device, such as a camcorder or deck, to digitize, click New Project, select a

DV or HDV preset that matches your target television standard and format, and click OK.

• To open an existing project using an external device, such as a camcorder or deck, to digitize, select an existing

project that was set up with the correct DV or HDV preset.

10 (Optional) Specify how Premiere Pro maps the audio channels from the digitizing device to audio tracks. Select Edit

> Preferences > Audio (Windows), or Premiere Pro > Preferences > Audio (Mac OS). In the Source Channel Mapping pane, select an audio channel format from the Default Track Format menu.

11 Choose File > Capture.

12 In the Capture panel, carefully check the settings on the Settings pane. If you need to change them, click Edit. (If

you’re using a capture card, the settings are provided by the card manufacturer’s plug-in software, not by Premiere Pro, and vary according to the capture card’s brand and model. See the documentation for the software driver provided by the capture card manufacturer.)

13 Do one of the following:

• If the digital device offers no device control, cue up your source using the analog device’s own controls. Press Play

on the analog device and click the Record button

• If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would

with a digital source.

in the Capture panel.

Capturing content for DVD

DVD content is compressed according to DVD specifications so that it plays reliably on a wide range of players. When preparing content for a DVD project, pay attention to frame size and frame rate, so that content retains its quality in the transition to DVD.

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For best results, make sure that you capture or record according to these specifications:

Frame size NTSC standard 720x480 or PAL standard 720x576. If your project uses a different frame size, Premiere Pro

scales it automatically.

Frame rate 29.97 fps (NTSC) or 25 fps (PAL); alternatively, 23.976 (NTSC) for 24p. All footage in a single project must

be of the same frame rate.

Aspect ratio 4:3 or 16:9 (widescreen).

Audio bit depth 16 bits.

Audio sample rate 48 kHz.

Batch capturing and recapturing

About logging clips

You can specify which shots you want to use from source tapes by logging them as a set of offline clips for later capture. If you set device-control options in the Preferences dialog box to remotely control your camera or deck, you can create offline clips by using the clip-logging controls in the Capture panel, and then use the Batch Capture command to capture the logged clips automatically.

If you have a list of In and Out points, you can log them manually without a device online; simply enter each shot’s In and Out points and click the Log Clip button. You can also log frame numbers using a separate logging or spreadsheet program and then import the spreadsheet into Premiere Pro as a list of offline clips.

You can also log clips interactively: you can set In points and Out points while the source tape is playing.

More Help topics

“Working with offline clips” on page 167

Log clips for batch capturing

1 In the Capture panel, make sure that your device is online, as indicated above the preview.

2 Insert a tape into your device. Premiere Pro prompts you to name the tape. Be sure not to give any two tapes you

log the same name.

3 Use the controls in the Capture panel to move to the first frame in your first shot, and click the Set In button. Then

move to the last frame in the shot and click the Set Out button.

4 In the Setup area of the Logging pane, choose your media type from the Capture menu.

5 If you want to capture some frames extending beyond the In and Out points of each clip, enter the number of frames

for these handles in the Handles setting of the Capture section.

6 Click the Log Clip button in the Timecode area of the Logging pane to log the clip you identified. Name the clip

when prompted. Premiere Pro logs the clip by placing an offline clip for it in the Project panel.

7 Repeat steps 2 through 6 to log each shot you want to batch capture.

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Importing, transferring, capturing, and digitizing

Capture panel with Logging active

When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section.

Because of the nature of Long GOP formats, inaccuracy in actual media content is possible. Adding handles assures that you have the proper frames needed for editing and, if need be, recapturing.

Log clips interactively

1 Make sure that your device is connected and in VTR or VCR (not Camera) mode, and then choose File > Capture.

2 In the Logging pane, enter the settings you want to use as the defaults for Setup and Clip Data.

3 Play the tape. Click Set In or Set Out at any time, even as the tape plays. Repeat as necessary.

4 When you are satisfied with the In and Out points, click Log Clip, verify the clip data, and click OK.

You can make slight timecode adjustments by using the plus sign (+) or minus sign (–). For example, to add five frames

to the end of the Out point, select the entire Out point timecode, type +5, and press Enter/Return.

Tips for logging clips interactively

• Set options on the Logging pane of the Capture panel. Premiere Pro uses the current data in the Setup and Clip Data

sections as defaults for subsequent logged clips. If you want to log a series of clips into the same bin with similar logging data, save work by specifying clip data before you start logging the series. When you click the Log Clip button, a dialog box appears so that you can accept or change the clip data.

• In the Clip Data section, specify a tape name. Premiere Pro asks for this name every time you begin batch capturing.

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• The Clip Name in the Clip Data section progresses in numerical increments automatically. For example, if you want

to number a series of clips with clip names starting with Car Chase, enter “Car Chase 01,” making sure that the clip name ends with the number. Subsequent logged clips default to the next number, such as “Car Chase 02.”

• You can change Capture panel settings at any time. For example, if you see the action changing as the tape plays

back, you can get ready to capture the new upcoming action by selecting a different bin to log subsequent clips into or by typing a different name for Description or Scene. You don’t have to stop the tape as you change settings.

• You can operate the device and log clips using the keyboard. See the tool tips for Capture panel controls, or choose

Edit > Keyboard Customization to view or change the shortcuts.

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

offline clip.

About batch capturing

Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device. You can define a batch by selecting a group of clips you have logged. These appear as offline (placeholder) clips in the Project panel or in a bin. You can capture any number of logged offline clips by selecting them and choosing File > Batch Capture. When you begin capture, Premiere Pro automatically re-sorts entries by tape name and timecode In points so that they’re captured as efficiently as possible.

To save time by reducing the number of clips you log manually, consider using Scene Detect. See “Log clips with

automatic scene detection” on page 86.

When you want to batch capture a set of logged offline clips, select them in the Project panel and choose File > Batch Capture. If you organized offline clips into bins, you can batch capture an entire bin by selecting the bin.

Premiere Pro can capture video in the background so that you can perform other tasks during capture. When you start either a manual capture or batch capturing in Premiere Pro, you can minimize the Premiere Pro application or switch to another application without stopping capture. After you restore the Premiere Pro window, you can click anywhere inside it to halt capture. However, be aware that frames may drop out if you perform a system-intensive task while capturing. The chance of dropping frames is lower on a high-performance system, such as one with dual processors.

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

Preparing for batch capturing A. Clips selected for capture B. Capture Settings option

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More Help topics

“Set up device control” on page 81

Choosing batch-capture settings

A batch list of logged clips appears as a list of offline clips in the Project panel. If you plan to capture many clips, you may want to create bins in the Project panel in advance so that you can log each set of offline clips directly into its own bin. When you batch capture, the offline clips are replaced by captured clips, maintaining the bin organization you set up in advance.

By default, the settings that Premiere Pro uses to batch capture offline clips are the capture settings of the project. If an offline clip has its own capture settings, Premiere Pro uses the clip settings when capturing it; the resulting clip maintains its capture settings so that it can easily be recaptured using the same settings. For example, if an offline clip has HDV as its format and the format specified in the project capture settings is DV, Premiere Pro captures the clip in HDV unless you change the clip capture settings. You can override clip capture settings by choosing the Override Capture Settings option in the Batch Capture dialog box.

More Help topics

“Specify capture settings” on page 80

Determine whether an offline clip has capture settings

You can determine whether an offline clip already has its own capture settings.

❖ In the Project panel, scroll right to the Capture Settings column. If the column is hidden, choose Metadata Display

from the Project panel menu. Then click the triangle next to Premiere Project Metadata to expose column names. Select Capture Settings. Click

If an offline clip has its own capture settings, its box in this column has a check mark.

OK.

Change capture settings for an offline clip

You can change capture settings for an offline clip. For example, you can capture the clip at a resolution higher than it had when it first was captured or logged.

1 Select the clip in the Project panel,

2 Choose Clip > Capture Settings > Set Capture Settings.

The Capture Settings dialog box opens.

3 See “Specify capture settings” on page 80.

More Help topics

“Set up device control” on page 81

Remove capture settings from an offline clip

1 In the Project panel, select the clip.

2 Choose Clip > Capture Settings > Clear Capture Settings.

By default, Premiere Pro captures this clip with the project capture settings.

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Macromedia Premiere Pro - CS5 Instruction Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Legal notices

Contents

Chapter 1: What's new

What’s new (CS5.5)

What’s new (CS5)

Chapter 2: User interface

Workspaces

Import a workspace with a project

Customizing workspaces

About workspaces

Choose a workspace

Dock, group, or float panels

Resize panel groups

Open, close, and scroll to panels

Working with multiple monitors

Save, reset, or delete workspaces

Brighten or darken the interface

Working with Panels

Navigate the panels

Display any panel full-screen

Display panel options

Display context and panel menus

Tools panel and Options panel

Tools

Open the Options panel

Dock the Tools panel to the Options panel

Undock the Tools panel from the Options panel

Clip details in the Info panel

Preferences

Change preferences

General preferences

Appearance preferences

Audio Preferences

Audio Hardware preferences

Audio Output Mapping preferences

Change the Auto Save settings

Capture preferences

Device Control preferences

Label Colors preferences

Label Defaults preferences

Media preferences

Memory preferences

Player Settings preferences

Titler preferences

Trim preferences

Chapter 3: Workflows and setup

Basic workflow

Cross-platform workflow

Cross-application workflows

Edit a clip in its original application

Working with Photoshop and Premiere Pro

Create and edit Photoshop files

Copy between After Effects and Adobe Premiere Pro

Copy from After Effects to Adobe Premiere Pro

Results of pasting into Adobe Premiere Pro

Copy from Adobe Premiere Pro to After Effects

Results of pasting into After Effects

Working with Adobe Premiere Pro and Adobe Flash

Working with Adobe Story, Adobe OnLocation, and Adobe Premiere Pro

Import clips with In and Out points set in Adobe OnLocation

Working with Encore and Premiere Pro

Add Encore chapter markers

Send to Encore or to an MPEG-2 file

Working with Final Cut Pro and Adobe Premiere Pro

Working with Avid Media Composer and Premiere Pro

Adobe Dynamic Link

About Dynamic Link (Production Premium or Master Collection only)

Dynamic Link performance (Production Premium or Master Collection only)

Create and link to After Effects compositions with Dynamic Link (Production Premium or Master Collection only)

Create a composition from clips in Adobe Premiere Pro

Create a dynamically linked composition from Adobe Premiere Pro or Encore

Link to an existing composition

Delete a dynamically linked composition or clip (Production Premium or Master Collection only)

Modify a dynamically linked composition in After Effects (Production Premium or Master Collection only)

Create an After Effects composition from clips in Premiere Pro (Production Premium only)

Offline compositions and Dynamic Link (Production Premium or Master Collection only)