Instruction/ maintenance manual of the product Premiere Pro CC Adobe
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Help and tutorial s ADOB E ® P RE MI E RE ® PRO January 2 014.
Contents What’s New 1 ................................................................................................................................................... What’s New in Premiere Pro CC December 2013 (version 7.2) ...................
Monitor overlays 201 ................................................................................................................................................................. Managing metadata 205 ..............................................
Add images to titles 431 ............................................................................................................................................................ Effects and transitions 432 .........................................
What's New 1.
What's New in Premiere Pro CC December 2013 (version 7.2) To the top For information on what's new in the earlier Creative Cloud releases of Premiere Pro, see: What's New in Premiere Pro CC October 2013 (7.1) What's New in Premiere Pro CC July 2013 (7.
To the top You can quickly create a sequence by dragging media and dropping it to the empty Timeline window. Premiere pro creates a new sequence from the media file that you dragged to the Timeline. Export markers as a list Premiere Pro lets you export markers from a single media asset or sequence to a CSV or HTML file.
Note: To the top Improved media management Open multiple Media Browser panels To easily access multiple projects and media locations, Premiere Pro lets you open multiple Media Browser panels simultaneously. Select New Media Browser Panel from the Media Browser 's context menu.
To the top previously saved sequence preset for camera 1, all cameras, or switch audio. Audio enhancements New voice- over recording workflow Premiere Pro now lets you set up and record voiceovers on audio tracks directly from the Timeline, without using the Audio Track Mixer workflow.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top To the top When using a predefined In/Out range, you don't have to click the Voice - over Record button .
What's new in Premiere Pro CC October 2013 (version 7.1) To the top To the top This document describes the new and changed features in the Premiere Pro CC October 2013 release (version 7.
Premiere Pro now lets you render multiple sequences at once instead of doing it one at a time. In the Project panel, select the sequences that you want to render, and select Sequence > Render Effects In Work Area. For more information about how to render a sequence, see Rendering and previewing sequences .
End Of Media Indicator When the playhead goes past the last frame of media on the Timeline and there is no clip after that, a black frame appears along the right edge of the last frame of a clip or sequence.
Note: Note: To the top J, K, L playback keyboard shortcuts now provide faster speeds of 1x, 2x, 4x, 8x, 16x, and up to 32x. Playback performance may vary depending on hardware, video frame resolutions, and video codecs.
To the top Timecode effect enhancements The Timecode effect automatically matches the Time Display parameter (or timebase) to the source clip. Copy and paste transitions to multiple edit points You can add a transition quickly to several edit points within your sequence by copying and pasting the transition.
To the top Note: Edit point indicators Media Limit indicators Marker comments Other metadata, like clip name, multi - camera angle, and sequence timecode You can turn overlays on or off by selecting Overlays from the pop -up menu in the Program Monitor or Source Monitor.
To the top Multi-Camera workflow improvements Display camera angles as track names or clip names When creating a multi - camera source sequence, you can display the camera names as clip names or track names. These options are available in addition to the default option of enumerated camera names like camera 1, camera 2, and so on.
To the top The Program monitor's Multi - Camera Viewing Mode now displays a fully composited output like the regular playback mode. The Multi - Camera mode can display any applied effects during playback. Quick multi - camera editing based on sync timecode Premiere Pro lets you perform quick multi - camera edits based on sync timecode.
To the top To the top To the top Support for 64- bit QuickTime export Premiere Pro supports the following new video and audio codecs that let you export QuickTime movies in a 64 - bit process.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Improved performance for MJPEG files Premiere Pro shows improved performance while playing MJPEG (Motion JPEG) movie files from the Canon EOS 1DC camera.
What's new in Premiere Pro CC July 2013 (version 7.0.1) Note: To the top This document describes the new and changed features in the Premiere Pro CC July 2013 release (version 7.
To the top To the top To the top To the top To the top The Copy/Paste feature continues to use the workflow where duplicate instances are created and linked back to the original master title clip. Besides the methods already mentioned, there are other methods to create a duplicate title.
To the top To the top To the top 1 . Right - click (Win) or Ctrl -click (Mac) an offline sequence and select Link Media from the context menu. All the clips used in that sequence appear in the Locate Media dialog. 2 . Relink the offline sequences just as you would relink any selection of offline clips.
To the top To the top To the top To the top Note: To the top To the top to this feature. When Linked Selection is turned on, clicking a linked clip in the Timeline automatically selects all the associated tracks. For example, if you click the video part of a linked A/V clip, the audio is automatically selected.
To the top To the top Note: To the top New Tone Settings dialog Premiere Pro provides a new Tone Settings dialog that lets you create Bars and Tones clips at - 20dB amplitude. Using the Tone Settings dialog 1 . Double -click a Bars and Tones clip to open the Tone Settings dialog.
To the top To the top Note: to the project file. This change conserves the maximum number of auto - saves per project, and saves only the useful archived versions. Improved time -lapse support when adding clips to a sequence When you add clips created from still images to a sequence, you can specify the duration of clips (in frames).
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top box. The preference is deselected by default.
What's New in Premiere Pro CC June 2013 (version 7.0) To the top To the top Adobe® Premiere® Pro CC 7.0 offers several new features and enhancements that enrich your digital video editing experience. Read on for a quick introduction to the new features and links to resources offering more information.
To the top Adobe Anywhere lets video teams effectively collaborate and access shared media across standard networks. You can you use local or remote networks to simultaneously access, stream, and work with remotely stored media. Heavy file transfers, duplicate media, and proxy files are not required.
To the top To the top Redesigned Timeline The track headers in the Timeline panel are now customizable, allowing you to determine which controls are displayed. Since the controls are different for the video and audio tracks, there are separate Button Editors for each track type.
Note: To the top Show duplicate frame markers Premiere Pro assigns a color automatically to each master clip that has a duplicate clip. Up to ten different colors are assigned. After ten colors are used, the tenth color is reused. For example, say, you've used multiple cameras to shoot a sporting event.
To the top Closed Captioning tools in Premiere Pro A. Display closed captions with content B. See captions on the Timeline You can import Closed Caption text, link it to the appropriate clips, edit the text, and adjust durations in the timeline from within Premiere Pro.
Use the Create Multi - Camera Source Sequence option to automatically match multiple camera angles Auto - sync clips using audio waveforms Premiere Pro also lets you can merge clips by using audio waveforms. You can use audio recorded from a second source to automatically sync and create multicamera and merged clips using audio waveforms.
You can now snap the playhead to items when you drag it over the Timeline. When snapping is enabled, the Razor tool is selected, and the cursor snaps to any snapping target including the playhead. To use the multi - razor tool over all tracks, press the Shift key.
To the top Audio enhancements Renamed Audio Mixer panel The Audio Mixer panel is now renamed the Audio Track Mixer . This name change helps you distinguish the Audio Track Mixer from the new Audio Clip Mixer panel.
To the top The Audio Clip Mixer lets you monitor and adjust the volume and pan of clips in sequence when the Timeline panel is in focus. Similarly, when the Source Monitor panel is in focus, the Audio Clip Mixer lets you monitor clips in the Source Monitor.
To the top To the top Color-related enhancements Integration of Lumetri Deep Color Engine Premiere Pro now includes the Lumetri Deep Color Engine . You can instantly apply SpeedGrade .look files and pre - made Lookup Tables (LUTs) to your sequences from within Premiere Pro.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Playhead and Select In to Out . Move selected clips to different tracks Use the Nudge Clip Selection Up and Nudge Clip Selection Down keyboard shortcuts to move selected clips up or down to different tracks.
What's new in Adobe Media Encoder CC 7.1 and CC 7.2 To the top To the top This article describes the new and changed features in Adobe Media Encoder CC 7.2 and CC 7.1 releases. See the What's new in AME CC document for information on changes in the AME CC 7.
Note: Note: GPU acceleration Adobe Media Encoder now takes advantage of GPU for rendering purposes. Both CUDA and OpenCL are supported. The latest release of AME uses the GPU for the following renders.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Sync settings AME now supports Sync Settings , a feature found in several Creative Cloud applications including Adobe Premiere Pro and After Effects.
Workspace and workflow 45.
Workspaces To the top To the top Import a workspace with a project Customizing workspaces Brighten or darken the interface The 2- up editing workspace For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press .
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.
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.
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.
Note: Note: 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Brighten or darken the interface You can lower the brightness, as when working in a darkened editing suite or when making color corrections.
Sync settings To the top To the top New in Premiere Pro CC When you work with Adobe® Premiere® Pro on multiple machines, managing and syncing preferences, presets, and libraries between them can be time - consuming, complex, and error -prone.
To the top Note: Sync settings Note: Note: When Syncing Adobe ID] > Use Settings From a Different Account . Enter the Adobe ID and password. The settings for that Creative Cloud account are downloaded and applied, and the user name appears in the Welcome Screen.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Automatically clear settings on application quit When you select Ask My Preference, the Sync Settings dialog opens, prompting you to upload or download your settings.
Direct -Link workflow between Premiere Pro and SpeedGrade To the top To the top New in the October 2013 release of Premiere Pro CC (version 7.1) and SpeedGrade CC (version 7.
Note: Step 1: Select Premiere Pro sequence Select the Premiere Pro sequence that you want to color grade. Ensure that you have selected the sequence in the Timeline or Project panel.
To the top A. Premiere Pro project sequence B. Premiere Pro sequence color graded in SpeedGrade The Direct- Link workflow has been designed to let you focus on the color correction and grading tasks when you are in SpeedGrade. Because of this focus, only the Color and Look tabs in SpeedGrade are available in the Direct- Link mode.
Note: Note: To the top When you open a Premiere Pro project, the Sequence Importer dialog opens showing all the sequences contained in the project. Select a sequence to open. SpeedGrade cannot open more than one Premiere Pro sequence at the same time.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy rendering. So, the Render and Results tabs are unavailable when using Direct Link. SpeedGrade can open only one Premiere Pro sequence at a time, and not multiple sequences at once.
Using the Source Monitor and Program Monitor To the top Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor U.
Note: Note: The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain.
To the top 1 . Do one of the following: Right click the image in the Source Monitor or Program Monitor . Click the Panel Menu icon in the Source Monitor or Program Monitor . Click the Settings button in the Source Monitor or Program Monitor . 2 . Do one of the following: To set playback resolution, select Playback Resolution .
To the top 1 . To open a clip, do any of the following: Double - click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor. The clip appears in the Source Monitor and its name is added to the Source menu.
To the top Time rulers Playhead Note: Current time displays Duration display Zoom scroll bars 3 . Set keyboard shortcuts for any of the following commands: Source Clip: Close Source Clip: Close All Source Clip: First Source Clip: Last Source Clip: Next Source Clip: Previous 4 .
Note: To the top To the top Changing the Program Monitor’s time ruler or zoom scroll bar does not affect the time ruler or viewing area in a Timeline panel. Viewing Source and Program Monitor controls You can show or hide controls from the panel menus of the Source and Program Monitors.
To the top Composite Video Alpha All Scopes Vectorscope YC Waveform YCbCr Parade RGB Parade Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade 2 . Select Display First Field , Display Second Field , or Display Both Fields according to your need.
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Multi -Camera editing workflow To the top To the top Enhanced in Premiere Pro CC October 2013 release (version 7.1) About the multi - camera editing workflow Multi- camera editing workflow Using the M.
4. Create a multi - camera target sequence Edit the multi -camera source sequence in a target sequence. To create a target sequence, with the multi- camera source sequence selected in the Project panel, select File > New > Sequence From Clip .
To the top You can use keyboard shortcuts for multi- camera editing. You can use the number keys to switch cameras as the multi - camera sequence plays. The keyboard shortcuts can also be used to change angles after completing a multi - camera edit. For more information, see Multi - camera keyboard shortcuts.
Camera 1 clip. In most scenarios, the Automatic preset is the appropriate setting. For advanced workflows, like editing a sequence using proxy resolution clips, you can choose a specific sequence preset. You can then use a higher resolution/frame size clips for the final edit.
To the top To the top To the top addition to the default option of enumerated camera names like camera 1, camera 2. Depending on the Camera Names option that you select, the camera angles are displayed as track names, clip names, or camera numbers in the Source Monitor .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Multiclips sequences appear as multi -camera sequences with all the Final Cut Pro project settings intact.
Control surface support To the top To the top New in Premiere Pro CC Adobe® Premiere® Pro provides a hardware control interface that lets you connect hardware control devices with the application. The hardware control interface supports Mackie and Eucon protocols.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy accurately matches the placement of the fader in the Track Mixer . Any movement of the fader control in the Track Mixer affects the fader of the control surface.
Keyboard shortcuts in Premiere Pro CC To the top Premiere Pro CC default keyboard shortcuts Multi- Camera (keyboard shortcuts) Project panel (keyboard shortcuts) Timeline panel (keyboard shortcuts) Ti.
Redo Ctrl+Shift+Z Shift+Cmd+Z Cut Ctrl+X Cmd+X Copy Ctrl+C Cmd+C Paste Ctrl+V Cmd+V Paste Insert Ctrl+Shift+V Shift+Cmd+V Paste Attributes Ctrl+Alt+V Opt+Cmd+V Clear Delete Forward Delete Ripple Delete Shift+Delete Shift+Forward Delete Duplicate Ctrl+Shift+/ Shift+Cmd+/ Select All Ctrl+A Cmd+A Deselect All Ctrl+Shift+A Shift+Cmd+A Find.
Mark In I I Mark Out O O Mark Clip X X Mark Selection / / Go to In Shift+I Shift+I Go to Out Shift+O Shift+O Clear In Ctrl+Shift+I Opt+I Clear Out Ctrl+Shift+O Opt+O Clear In and Out Ctrl+Shift+X Opt+.
Add Tracks to Match Source Clear Poster Frame Ctrl+Shift+P Opt+P Cut to Camera 1 Ctrl+1 Ctrl+1 Cut to Camera 2 Ctrl+2 Ctrl+2 Cut to Camera 3 Ctrl+3 Ctrl+3 Cut to Camera 4 Ctrl+4 Ctrl+4 Cut to Camera 5.
Multi - Camera (keyboard shortcuts) Delete Backspace Delete Open in Source Monitor Shift+O Shift+O Parent Directory Ctrl+Up Cmd+Up Select Directory List Shift+Left Shift+Left Select Media List Shift+R.
Increase Clip Volume Many Shift+] Shift+] Maximize or Restore Active Frame Shift+` Shift+` Maximize or Restore Frame Under Cursor ` ` Minimize All Tracks Shift+ - Shift+ - Play Around Shift+K Shift+K .
Project panel (keyboard shortcuts) Shuttle Stop K K Step Back Left Left Step Back Five Frames - Units Shift+Left Shift+Left Step Forward Right Right Step Forward Five Frames - Units Shift+Right Shift+.
Timeline panel (keyboard shortcuts) Workspace 9 Alt+Shift+9 Opt+Shift+9 Zoom to Sequence Extend Selection Up Shift+Up Shift+Up Move Selection Down Down Down Move Selection End End End Move Selection.
Titler (keyboard shortcuts) Nudge Clip Selection Right Five Frames Alt+Shift+Right Shift+Cmd+Right Nudge Clip Selection Right One Frame Alt+Right Cmd+Right Ripple Delete Alt+Backspace Opt+Delete Set W.
Increase Kerning by Five Units Alt+Shift+Right Opt+Shift+Right Increase Kerning by One Unit Alt+Right Opt+Right Increase Leading by Five Units Alt+Shift+Up Opt+Shift+Up Increase Leading by One Unit Al.
To the top To the top Trim Monitor panel (keyboard shortcuts) Find keyboard shortcuts Find the keyboard shortcuts for a tool, button, or menu command by doing any of the following: For a tool or button, hold the pointer over the tool or button until its tool tip appears.
Application Panels Tools Note: To the top To the top 2 . In the Keyboard Customization dialog box, choose an option from the menu: Displays commands found in the menu bar, organized by category. Displays commands associated with panels and menus. Displays a list of tool icons.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Printing keyboard shortcuts Many editors like to have a keyboard shortcuts document they can search and refer to. Premiere Pro offers a way to copy and paste keyboard shortcuts into a document, and then print.
Cross -application workflows To the top To the top Edit a clip in its original application Working with Photoshop and Premiere Pro Copy between After Effects and Premiere Pro Working with Adobe Premie.
Franklin McMahaon provides a video tutorial that demonstrates creating a title in Photoshop for use in Premiere Pro in this video tutorial from Layers Magazine . This Premiere Pro tutorial video by Phil Hawkins at Infinite Skills shows how to import files between Photoshop and Premiere Pro.
To the top Note: 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.
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.
Note: 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 the top To the top To the top 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.
To the top Note: Note: For an overview of all the features in Adobe Story, see this video . Working with Encore and Premiere Pro To use Encore CS6 with Premiere Pro CC, see the following resources: In.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: To the top Check the functionality and the look of your DVD or Blu - ray Disc menus in the Preview DVD window.
Setting up your system To the top Set up a DV or HDV system Set up an SD -SDI, HD - SDI, or component system Set up a file - based system Set up an S -Video or composite system Specify the default aud.
To the top 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.
Note: To the top 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.
To the top Note: To the top 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.
Enable Devices Buffersize Device 32 - bit Recording/Playback Note: To the top Note: 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.
To the top To the top Note: To the top 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.
My Documents (Windows) or Documents (Mac OS) Same As Project Custom 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.
Note: To the top Note: Note: 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top 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.
Preferences To the top To the top Change preferences General preferences Appearance preferences Audio Preferences Audio Hardware preferences Audio Output Mapping preferences Change the Auto Save setti.
To the top To the top Automatch Time 5.1 Mixdown Type Play Audio While Scrubbing Mute Input During Timeline Recording Default Track Format Mono Stereo Mono As Stereo 5.1 Linear Keyframe Thinning for Windows and vertical for Mac OS. For Windows, press the Ctrl key to switch to vertical scrolling.
Minimum Time Interval Thinning To the top To the top Note: To the top Note: To the top represent an increase in value from the beginning (0 dB) and ending (–12 dB) keyframes.
Note: To the top To the top To the top To the top Indeterminate Media Timebase Timecode Frame Count Write XMP ID To Files On Import Enable Clip And XMP Metadata Linking Growing Files To the top To the.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top To the top Playback Settings preferences In the Playback Settings pane of the Preferences dialog box, you can select the default player for audio or video, and set preroll and postroll preferences.
Working with Panels To the top To the top Note: To the top Navigate the panels Display any panel full-screen Display panel options Display context and panel menus Tools panel and Options panel Clip details in the Info panel Navigate the panels You can use keyboard shortcuts to activate panels in rotation.
To the top To the top Note: Selection Tool Track Selection Tool Ripple Edit Tool In Photoshop, you can change the font size of the text in panels and tool tips.
Rolling Edit Tool Rate Stretch Tool Razor Tool Slip Tool Slide Tool Pen Tool Hand Tool Zoom Tool To the top preserves all edits to the left or right of the trimmed clip.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 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.
Adobe Dynamic Link To the top To the top Note: To the top About Dynamic Link Dynamic Link performance Create and link to After Effects compositions with Dynamic Link Delete a dynamically linked compos.
Note: To the top 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.
To the top Note: To the top To the top Delete a dynamically linked composition or clip 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 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.
Cross -platform workflow Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Sequence settings Effects Adobe Media Encoder presets Preview files High -bit - depth files Preview rendering You can work on a project across computer platforms.
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.
Note: 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.
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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy sound mixer, or mix audio for 5.1 surround sound. For more information, see Mixing audio tracks and clips. 7.Export Deliver your edited sequence in the medium of your choice: tape, DVD, Blu - ray Disc, or movie file.
Project setup 124.
Trim or copy your project Note: Create New Trimmed Project Collect Files and Copy to New Location Note: Note: Exclude Unused Clips Make Offline Note: Include Handles Note: Include Preview Files Include Audio Conform Files 1 . Choose Project > Project Manager.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Rename Media Files To Match Clip Names Note: Project Destination Note: Disk Space Renames the copied footage files with the same names as your captured clips.
Creating and changing projects Note: To the top Note: Create a project Review project settings Project Settings dialog box Open a project Delete a project file Moving a project to another computer A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing.
Note: Note: To the top To the top Video Rendering and Playback Title Safe Area Action Safe Area Display Format (Video and Audio) 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.
Capture Format To the top Find Skip Skip All Note: Skip Previews Offline presets and settings. For information about setting the capture format, see Set capture format, preferences, and tracks. Scratch Disks For information about designating scratch disks, see Specify scratch disks to improve system performance.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Offline All Note: To the top To the top missing files every time the project is opened. Like Offline, Offline All replaces all missing files with persistent offline files.
Archiving projects Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 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.
Importing footage 132.
Transferring and importing files To the top Note: Note: Supported file formats About file formats About transferring files About importing files Import files with the Media Browser Import files with t.
Note: Note: Note: You can preview Native Canon XF files in the Media Browser, and the use of metadata is supported. R3D (RED camera) Adobe Premiere Pro supports RED Digital Cinema (R3D) files, including new color science support (REDcolor2, REDgamma2, REDlogFilm, etc.
Note: To the top EPS GIF ICO (Icon File) (Windows only) JPEG (JPE, JPG, JFIF) PICT PNG PSD PSQ (Adobe Premiere 6 Storyboard) PTL, PRTL (Adobe Premiere title) TGA, ICB, VDA, VST TIF Supported video pro.
To the top 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 projec.
To the top To the top The folder structure for DVD - video assets About importing files For a video overview of the ways to import assets into Premiere Pro, see the Adobe website . 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.
To the top Note: To the top 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top 1 . Start Adobe Bridge from Premiere Pro. 2 . In Adobe Bridge, double -click the clip. Premiere Pro imports the clip into the Project panel.
Importing assets from tapeless formats Note: Note: Import assets from file - based sources with Media Browser About spanned clips File -based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures.
Note: To the top Note: Note: To the top 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. Premiere Pro and Premiere Elements, do not import or decrypt encrypted DVD files.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy For P2 and XDCAM EX, Premiere Pro imports all of the spanned clips within a single shot or take as a single clip.
Importing still images To the top To the top Note: Preparing still images before importing Importing Photoshop and Illustrator files Import images as an image sequence You can import individual still images into Premiere Pro or import a series of still images as a sequence.
Note: Merge All Layers Merged Layers Individual Layers Sequence Note: To the top 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy information on layers and flattening, see the application’s documentation. 1 . Set the framerate for the still - image sequence.
Support for growing files Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Growing files are those that grow in duration after they are ingested. Adobe® Premiere® Pro supports growing files for those needing that workflow.
Working with timecode To the top To the top About timecode Choose timecode display format Change how timecode is displayed Stripe tape or replace timecode Capturing timecode Set timecode manually for .
Use Media Source Start At 00:00:00:00 Start At 0 Start At 1 Timecode Conversion To the top To the top Also, you can determine how Premiere Pro displays the frame count when a Frames or Feet And Frames display is chosen for a panel. You can make the frame count for every clip start at 0 or at 1, or you can have it converted from the source timecode.
Note: Note: You can ensure continuous timecode by recording timecode onto the tape before you use it. This process is called striping the tape. Striping is not necessary if you follow recommended shooting practices, but it can protect you from accidentally breaking timecode by miscuing a tape in your camera.
To the top Note: To the top To the top To the top Capturing timecode The timecode of source video is captured when you use device control. Timecode capture with controllable analog devices depends on the precision of your tape deck.
Note: To the top To the top 3 . Click the Effect Controls panel to make the panel active. 4 . Click the triangle next to Timecode to expose the options for this effect. 5 . Adjust the options as needed. View sequence timecode as a burn - in 1 . At the bottom of the Project panel, click the New Item icon .
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Importing XML project files fromFinal Cut Pro Note: To the top To the top To the top Import an XML file from Final Cut Pro Final Cut Pro clip data Final Cut Pro effects and transitions Final Cut Pro c.
To the top 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: Table 1.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Final Cut Pro mode Premiere Pro mode Normal Normal Add Linear .
Importing sequences, clip lists,libraries, and compositions To the top Note: To the top To the top Importing earlier Premiere Pro projects Import selected sequences from Premiere Pro projects Import a.
To the top To the top To the top 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 2 . Click Open. Adobe also recommends Copying and pasting between After Effects.
Importing digital audio Note: To the top Note: To the top To the top To the top Using audio from audio CDs Using compressed audio formats Using audio from Adobe Soundbooth Audio sample rates supported Conforming audio You can import digital audio clips stored as audio files or tracks in video files.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top 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.
Digitizing analog video To the top To the top About capture card settings Digitize 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 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.
Create clips for offline editing To the top Note: Create low - resolution clips for offline editing Replace low -resolution clips with high - resolution clips for online editing For online editing , you edit clips at the level of quality required for the final version of the video program.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top 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.
Capturing and digitizing To the top Capture Digitize Note: To the top About capturing and digitizing System requirements for capturing Set capture format, preferences, and tracks Capture from stereo s.
Note: Note: To the top Note: 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.
Note: To the top To the top 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.
To the top Note: Note: 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.
Offline Detected Online Preroll Time Timecode Offset 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.
Offline Detected Online Preroll Time Timecode Offset 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.
Note: To the top Note: To the top Note: 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.
To the top Note: Note: 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.
Note: To the top To the top 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.
Note: To the top 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.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy If no audio is recording, try playing a source through the computer’s sound input and speaker system without recording.
Capturing HD video Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 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.
Capturing DV or HDV video Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable.
Capturing content for DVD Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Frame size Frame rate Aspect ratio Audio bit depth Audio sample rate DVD content is compressed according to DVD specifications so that it plays reliably on a wide range of players.
Batch capturing and recapturing To the top To the top About logging clips Log clips for batch capturing About batch capturing Choosing batch - capture settings Batch capture clips Troubleshooting batc.
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.
To the top Note: To the top 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.
To the top Note: To the top If an offline clip has its own capture settings, its box in this column has a check mark. 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.
To the top To the top You can perform trouble - free batch capturing if device control and the project’s capture settings are set up properly and if the offline clips you logged are consistent and free of conflicting data.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 4 . In the Make Offline dialog box, specify whether the source media files are to remain on disk or be deleted. 5 . With the offline clips still selected, choose File > Batch Capture.
Managing assets 185.
Customizing the Project panel To the top To the top Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel Change Project panel views After you obtain an asset, its name appears in the Project panel.
To the top Working in Icon view Video tutorial: Hover Scrub The Icon view in Premiere Pro has the following features: Use the Zoom slider to increase or decrease the size of icons. Icons can be zoomed to a large scale so that you can view the contents of your media more easily.
To the top Note: List View Sort : Sorts the icons in the sort order chosen in the List view. For example, if you sorted the clips by "Media duration" in the List view. When you switch to the Icon view, the sort order is retained and the icons are also sorted by media duration.
Integer Real Text Boolean Name Label Media Duration Note: Change the width of a column In the List view of the Project panel, position the mouse over a dividing line between column headings.
Video Duration Audio Duration Video Info Video Usage Audio Usage Tape Name Description Comment Log Note File Path Capture Settings Status Offline Properties Scene Shot/Take Good To the top The duration of the video component of a clip. To determine video duration, the difference between the video In point and Out point is calculated.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Project Panel: Organizing, Automating, and Searching Project Panel: New Items a.
Organizing assets in the Project panel To the top Working with bins Adding and deleting bins Change bin behaviors Bin tips Label assets Rename assets Rename a clip Rename an original source file Jump .
A. Bin in a bin B. List view C. Icon view D. Zoom slider E. Automate to sequence F. Find G. New bin H. New item I. Clear These are the default behaviors of bins in the Project panel. You can change the last three bin default behaviors by editing bin behavior in general preferences.
To the top Double - click to open a bin in its own dockable panel. Change bin behaviors While working in a project, you will sometimes want to change the way you view your bins. In standard layout, you can see the hierarchy of your entire project, which is useful.
Note: To the top Note: To assign a label to an asset, select a clip in the Project panel, choose Edit > Label, and choose a color. To select all assets with the same label, select an asset that uses the label and choose Edit > Label > Select Label Group.
To the top To the top All Visible Text Transcript To the top Jump to an asset in the Project panel 1 . Select the Project panel. 2 . Type the first letter of the name of the desired clip. Find assets in the Project panel 1 . In the Project panel, select one of these options from the In menu: Searches all metadata.
To the top Note: Select the Project panel, and press Ctrl + F (Windows), or Command + F (Mac OS). 2 . In the Find dialog box, select the name of the columns to search from the menus under Column. 3 . Select the appropriate operators from the menus under Operator.
To the top Note: To the top 1 . Do one of the following: Click the magnifying glass in the Find box and choose Find Faces, Choose Edit > Find Faces. The Project panel displays only clips containing faces. All bins remain visible in this filtered view to allow you to drag clips to them.
To the top Note: To the top Edit cells in the Project panel You can edit the data in the editable cells, whether for clip properties or XMP metadata, for any clip in the Project panel. Premiere Pro stores data written to XMP metadata cells in the source files.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top To the top Open. You can also view clip properties in the Source Monitor, Timeline panel, or Project panel by right - clicking (Windows) or Control -clicking (Mac OS) a clip and choosing Properties.
Monitor Overlays To the top Note: To the top New in Premiere Pro CC October 2013 release (version 7.1) Monitor Overlays display important metadata information superimposed on the Source Monitor and Program Monitor.
Source Timecode Media Limit Indicators Alignment of the selected metadata fields matches the overlays placement on the monitor The overlays are displayed in the following four quadrants on the monitors: Left, Right, Top Middle and Bottom Middle. The quadrants scale with the sizing of the monitor.
End Of Media Indicators Edit Point Indicators Marker comments Note: Action and Title Safe Area Enable overlays for Transmit Enable overlays during playback Text Size Opacity To the top When the playhe.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Camera Name and Source Timecode displayed as overlays in Multi -Camera view Import, export, and create overlay presets You can save your customized overlay settings as overlay presets.
Managing metadata To the top Note: To the top About the Metadata panel and XMP About the Metadata panel in Premiere Pro About file, clip, and project XMP metadata Using clip metadata and file metadata.
To the top Adobe Premiere Pro Clip File After Effects Project Files To the top The Metadata panel shows both clip -instance metadata and XMP file metadata for a selected asset. Fields under the Clip heading show clip - instance metadata: information about a clip selected in the Project panel, or in a sequence.
To the top To the top Use the XMP metadata fields to store data that applies to the source file, and all clip instances that point to it. Use the clip metadata fields to store data specific to each unique clip. Link clip metadata fields to XMP metadata fields when you want clip metadata copied to the source file.
To the top Integer Real Text Boolean To the top Show or hide XMP metadata To optimize the Metadata panel for your workflow, show or hide entire schemas or individual properties, displaying only those that you need. 1 . From the options menu for the Metadata panel, select Metadata Display.
To the top View clip data in the Metadata panel You can show or hide clip information in the Metadata panel like any other metadata. Premiere Pro saves clip information in the schema named Premiere Project Metadata. For more information about showing or hiding metadata schemas, see Show or hide XMP metadata .
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Working with markers To the top Markers Markers panel Add markers in the Timeline Add markers to clips Find, move, and delete markers Display marker comments Sharing markers with After Effects, Encore, and Flash Markers Markers indicate important points in time and help you position and arrange clips.
To the top To the top A. Comment marker B. Flash point marker C. Chapter marker D. Web link marker Markers on the Marker and Timeline panels A. Comment marker B. Flash cue point marker C. Encore chapter marker D. Web link marker E. Movie sequence F. Movie clip G.
Name Duration Comments Encore Chapter Marker Web Link URL Note: Frame Target Flash Cue Point Type Plus and Minus buttons Name Value Note: To the top 4 . Set any of the following options: Type a name for the marker. Drag the duration value or click the value to highlight it, type a new value, and press Enter/Return.
1 . Open the clip in the Source Monitor from the Timeline or the Project panel. 2 . Place the Playhead where you want to place the marker. 3 . Choose Marker > Add Marker, or press M. The marker is added to the clip. To add a marker to a clip in the Timeline, do the following: 1 .
Next Available Numbered Other Numbered Note: To the top To set a sequence marker, select the Program Monitor or Timeline panel. 2 . Move the current - time indicator to where you want to set the marker.
Note: Current Marker All Markers Numbered Note: To the top To cue the playhead to a sequence marker, select the Program Monitor or Timeline panel, choose Marker > Go To Sequence Marker > [marker] .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: Timecode start (always displayed) Duration (optional, sh.
Working with aspect ratios To the top About aspect ratios Using assets with various aspect ratios Fix aspect ratio distortion Correct individual aspect ratio misinterpretations Correct recurring aspect ratio misinterpretations Common pixel aspect ratios About aspect ratios An aspect ratio specifies the ratio of width to height.
Note: NTSC displays A. 16:9 NTSC footage B. DVD player display using original widescreen format on widescreen TV screen C. 16:9 image on a 4:3 TV screen cropped using automatic pan and scan D.
To the top To the top To the top Use Pixel Aspect Ratio From File Conform To Note: To the top Using assets with various aspect ratios Premiere Pro automatically attempts to preserve the frame aspect r.
To the top 1 . Open a text editor. 2 . From within the text editor, go to the Premiere Pro Plug - ins folder. 3 . Open the file named Interpretation Rules.txt. 4 . Edit the rule that you want to modify, and choose Save. Common pixel aspect ratios Adobe also recommends Pixel aspect ratio When to use Square pixels 1.
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Monitoring assets 223.
Using the Source Monitor and Program Monitor To the top Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor U.
Note: Note: The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain.
To the top 1 . Do one of the following: Right click the image in the Source Monitor or Program Monitor . Click the Panel Menu icon in the Source Monitor or Program Monitor . Click the Settings button in the Source Monitor or Program Monitor . 2 . Do one of the following: To set playback resolution, select Playback Resolution .
To the top 1 . To open a clip, do any of the following: Double - click the clip in the Project or Timeline panel, or drag a clip from the Project panel to the Source Monitor. The clip appears in the Source Monitor and its name is added to the Source menu.
To the top Time rulers Playhead Note: Current time displays Duration display Zoom scroll bars 3 . Set keyboard shortcuts for any of the following commands: Source Clip: Close Source Clip: Close All Source Clip: First Source Clip: Last Source Clip: Next Source Clip: Previous 4 .
Note: To the top To the top Changing the Program Monitor’s time ruler or zoom scroll bar does not affect the time ruler or viewing area in a Timeline panel. Viewing Source and Program Monitor controls You can show or hide controls from the panel menus of the Source and Program Monitors.
To the top Composite Video Alpha All Scopes Vectorscope YC Waveform YCbCr Parade RGB Parade Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade 2 . Select Display First Field , Display Second Field , or Display Both Fields according to your need.
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Using the Waveform monitors and vectorscope To the top All Scopes Vectorscope YC Waveform YCbCr Parade View a scope Vectorscope YC Waveform YCbCr Parade RGB Parade Premiere Pro has a vectorscope and w.
RGB Parade Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade To the top Intensity 75% 100% To the top Displays a scope showing the red, green, and blue components in the video. Displays the Vectorscope, YC Waveform, and YCbCr Parade scope in one monitor.
Intensity Setup (7.5 IRE) Chroma To the top Note: To the top YC Waveform with the chroma control enabled A. IRE units B. Luminance (green) waveform C. Chrominance (blue) waveform D. Range of signal components The YC Waveform has the following controls: Adjusts the brightness of the waveform display.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy RGB Parade scope A. Values B. R waveform C.
Using the Reference Monitor To the top To the top Open a Reference Monitor Gang the Reference Monitor and Program Monitor The Reference Monitor acts like a secondary Program Monitor. You can use a Reference Monitor to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy In the Program Monitor’s panel menu, choose Gang To Reference Monitor.
Playing assets To the top Note: Play video in the Source Monitor and Program Monitor Continuous Playback Play a sequence or clip with preroll and postroll pauses Jog or shuttle playback Move to a diff.
To the top To the top To the top Continuous Playback Playback continues unless the user specifically issues a Stop command. This feature supports real - time adjustment of common editing actions. For example, you could adjust video effects while you are playing back in a loop.
To the top To the top To the top Move to a different frame in the Source Monitor and Program Monitor Do any of the following: To advance one frame, click the Step Forward button , or hold down the K key and tap the L key, or press the Right Arrow key.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: While editing in a Timeline panel, you can find the source frame for any frame in a sequence clip and display it in the Source Monitor.
Editing sequences and clips 242.
Relinking offline media To the top New in Premiere Pro CC Locating and linking offline files Relink offline media automatically Manually locate and relink offline media When an imported clip is moved, renamed, or deleted outside Premiere Pro, the clip becomes an offline clip.
To the top Note: When you open a project with missing media files, the Link Media dialog box gives you visibility into files that have broken links and helps you locate and link your files quickly. The Link Media dialog box displays the clip name used in the project, as well as the linked filename of the media.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Manually locate and relink offline media You can manually find and reconnect the media that Premiere Pro is unable to automatically relink.
Trimming clips To the top Working with In and Out points Working with audio clips in the Source Monitor View audio waveforms Scrub the audio waveform in the Source Monitor Zoom in or out on an audio w.
To the top allow you to trim an edit point. These tools and techniques allow you to trim more easily and accurately, reducing the number of steps involved and maintaining the integrity of the sequence. You can perform trimming tasks to selected edit points of a clip, or selected edit points from multiple clips.
To the top Note: To zoom in on all channels simultaneously, Shift - drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor. The waveform of one or all channels, and the decibel ruler, will expand or contract vertically.
Note: To mark an Out point, drag the playhead to the frame you want. Then click the Mark Out Point button , or press the O key. After you mark In and Out points, you can always change your mind before you edit the clip into the sequence. Drag the In or Out points to a new position in the time ruler.
Note: Note: Note: To the top 4 . Drag the In/Out Grip (textured area at the center of the shaded span between the In and Out points), as you did in the section, Move In point and Out point together . Cue to an In point or Out point You use the Source Monitor to cue a frame for a clip and the Program Monitor to cue the current frame for a sequence.
Note: Note: This video tutorial by Todd Kopriva and video2brain shows you how to edit quickly and precisely with the keyboard, including the new trim mode, dynamic trimming commands, and J-K -L trimming commands. Learn how to apply these techniques to your work in this video.
Using modifier keys with trim tools Use the Alt (Windows) or Option (Mac OS) modifier key to override normal linked only select the edit point that is clicked. This technique is useful for setting up a split edit (L or J - cut). Use the Shift modifier key to add or remove other edit points to the current selection.
Note: Select Nearest Edit Point Go to Next Edit Point and Go to Previous Edit Point Go to Next Edit Point on Any Track and Go to Previous Edit Point on Any Track Toggle Trim Type There are keyboard shortcuts for selecting edit points that use the playhead position and track targets.
Trim Backward and Trim Forward Trim Backward Many and Trim Forward Many Extend Selected Edit to Playhead Note: Ripple Trim Previous Edit to Playhead and Ripple Trim Next Edit to Playhead Note: on. There is also an existing keyboard shortcut to toggle snapping on or off that can be used during dragging.
Note: To the top Trimming a clip Trimming in this way affects only a single clip's edit point and doesn’t affect adjacent clips. As you trim with the Selection tool, a gap in the Timeline is left behind.
Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This action effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence.
Note: To the top 1 . Click a track header to target the track containing the clip you want to trim. 2 . Drag the playhead to the location in the sequence to which you want to extend the clip In point or Out point. 3 . Click the Rolling Edit tool, and then select the edit point.
A slip edit shifts a clip’s In and Out points forward or backward by the same number of frames in a single action. By dragging with the Slip tool, you can change a clip’s starting and ending frames without changing its duration or affecting adjacent clips.
In this slide edit, a clip is dragged left so that it starts earlier in the sequence, shortening the preceding clip and lengthening the following clip.
To the top Note: Press Alt+Right (Windows). Press Command+Right (Mac OS). For more information about nudging clips with keyboard shortcuts, see this video by Todd Kopriva and video2brain.
Entering trim mode Prior to entering trim mode, a good strategy is to select one or more edit points with a trim tool in the Timeline. These selected edits remain intact once you enter trim mode. You can also enter trim mode without selecting edits ahead of time.
Program Monitor on the next loop. Continue to adjust and review the edit until you are satisfied with the trim. Move on to trimming the next edit point by using the Go to Next Edit Point or Go to Previous Edit Point shortcuts (the Up Arrow, and Down Arrow keys), or stop playback, if you have finished.
Trimming and the History panel The History panel shows each trim adjustment as an individual entry, whether using the keyboard, clicking one of the buttons or using J - K - L shortcuts.
To the top frames. Combinations of Trim In and Trim Out trims are not considered asymmetrical even if the side of the edit point differs, since the movement of the edit point is always in the same direction and there is no shifting of trailing clips.
Note: Choose Edit > Preferences > Trim (Windows) or Premiere Pro > Preferences > Trim (Mac OS). Make a rolling edit using the Trim Monitor 1 . In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Drag the left or right jog disk to trim the corresponding clip. Drag the Outgoing Out Point icon in the left view’s time ruler, or drag the Incoming In Point icon in the right view’s time ruler.
Source patching and track targeting Keywords: Video patching, track targeting, targeting tracks, video editing, source patching, source sequences Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Multi -Camera editing workflow To the top To the top Enhanced in Premiere Pro CC October 2013 release (version 7.1) About the multi - camera editing workflow Multi- camera editing workflow Using the M.
4. Create a multi - camera target sequence Edit the multi -camera source sequence in a target sequence. To create a target sequence, with the multi- camera source sequence selected in the Project panel, select File > New > Sequence From Clip .
To the top You can use keyboard shortcuts for multi- camera editing. You can use the number keys to switch cameras as the multi - camera sequence plays. The keyboard shortcuts can also be used to change angles after completing a multi - camera edit. For more information, see Multi - camera keyboard shortcuts.
Camera 1 clip. In most scenarios, the Automatic preset is the appropriate setting. For advanced workflows, like editing a sequence using proxy resolution clips, you can choose a specific sequence preset. You can then use a higher resolution/frame size clips for the final edit.
To the top To the top To the top addition to the default option of enumerated camera names like camera 1, camera 2. Depending on the Camera Names option that you select, the camera angles are displayed as track names, clip names, or camera numbers in the Source Monitor .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Multiclips sequences appear as multi -camera sequences with all the Final Cut Pro project settings intact.
Edit from sequences loaded into the Source monitor Keywords: Source sequences, track targeting, editing sequences, sequence editing, source tracks, source track indicator, drag and drop editing To the.
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Closed Captioning To the top Note: Enhanced in Premiere Pro CC October 2013 release (version 7.1) Closed Captioning workflow in Premiere Pro Step 1: Import Closed Caption files Step 2: Display Closed .
Displaying closed captions in the Source Monitor and Program Monitor You can select the captioning standard for a caption clip loaded in the Source Monitor. In the Source Monitor panel pop -up menu, select Closed Captioning Display > Settings . For example, you can select CEA - 608, CEA - 708, CC1, CC2, and so on.
A. Filter caption content B. Formatting toolbar C. Editable text blocks Example usage scenario Consider a scenario where you have a program that already contains closed captions. You may need to create a different version of the program, say with a shorter duration, to add more commercials.
To the top To the top is chosen based on the known frame rate of the sequence that you are exporting. Click Export to export the closed caption file. Export Setting for Closed Captions Alternatively, you can also click Queue to send the sequence into the Adobe Media Encoder queue.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Supported caption formats Premiere Pro supports reading and writing captions for MXF OP1a files. The captions are read from and written to the SMPTE 436M ancillary data track in the MXF OP1a file.
Synchronizing audio and video with Merge Clips Note: To the top Note: To the top Merge clips in the Project panel Merge clips in the Timeline panel Synchronize clips in the Timeline panel Editing with.
Note: To the top To the top Note: Choose Clip > Merge Clips. The Merge Clips dialog launches. 2 . Click OK. Your merged clip will now appear in the Project panel. Clips that are merged in the Timeline are synchronized from Clip Start for each component clip.
To the top Note: To the top To the top component clips. Merged clips and the Metadata panel When a merged clip is created, the metadata for each of the component clips is copied into the Metadata panel. There are some differences for displaying metadata for a merged clip.
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Rendering and previewing sequences To the top Note: To the top Define the work area for rendering Define the area for rendering using In and Out points Render a preview file for a section of a sequenc.
To the top Render Effects In to Out Render In to Out Render Audio Note: To the top Define the area for rendering using In and Out points You can mark In and Out points to define an area for rendering: Mark In and Out points for the area of the sequence that you plan to render.
To the top Note: To the top To the top Work with preview files When you render previews, Premiere Pro creates files on your hard disk. These preview files contain the results of any effects that Premiere Pro processed during a preview.
No Scroll Page Scroll Smooth Scroll To the top Note: Desktop Video Display During Playback External Device Aspect Ratio Conversion Desktop Audio External Device Audio Export: External Device Disable Video Output When Premiere Pro is in the Background Sequence doesn’t scroll.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 24p Conversion Method To the top application on your desktop. Specifies the conversion method for 24p footage. See Set 24p playback options.
Remove alerts with the Events panel Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Premiere Pro Events lists warnings, error m.
Rearranging clips in a sequence To the top Move clips Split or cut one or more clips with the Razor tool Lift and paste frames Extract and paste frames Delete clips and close gaps simultaneously Delet.
Note: Note: To insert, drag one or more clips, and press Ctrl (Windows) or Command (Mac OS) as you release the mouse button and drop the clip or clips into a new location. Clips in all tracks to the right of the drop point shift to the right of the inserted clips.
To the top To the top that shifts clips in the destination tracks only. Split or cut one or more clips with the Razor tool You can use the Razor tool to cut a clip into two clips, or to cut across clips in several tracks at once. Splitting a clip creates a new and separate instance of the original clip, and any linked clips.
To the top To the top To the top Extract and paste frames You can extract frames from a specified area of one or more tracks in a sequence, leaving no gap in their place.
To the top Next in Sequence Previous in Sequence Next in Track Previous in Track Note: To the top To the top To delete gaps between multiple clips, see this video tutorial by Ann Bens. Find gaps in sequences and tracks You can find gaps of at least one frame in a sequence or a particular track of a sequence.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Copy and paste clips by dragging in the Timeline You can copy and paste clips by dragging them and holding down a modifier key to a different place in the Timeline.
Working with offline clips Note: To the top Create an offline clip Edit an offline clip Relink an offline clip Convert an online clip to an offline clip An offline clip is either a clip that has been unlinked from its source file, or a logged clip that you still have to capture.
Note: To the top Note: To the top Note: Note: To be eligible for capture, an offline clip must contain at least a tape name, filename, and Media Start and Media End settings. It is not possible to create an offline merged clip from scratch. Edit an offline clip You can edit an offline clip.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Media Files Remain On Disk Media Files Are Deleted Note: To delete the audio track from all instances of the offline clip from the project click OK.
Modifying clip properties with Interpret Footage javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/modifying -clip -properties -interpret - footage/jcr:content/jcr:title: not allowed to add or modify item Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Creating and changing sequences To the top Timeline panels Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Change s.
To the top Open additional Timeline panels You can open more than one Timeline panel if you have more than one sequence in a project. 1 . Open more than one sequence. For more information about opening sequences see Open a sequence. Each will appear in its own tab in the default Timeline panel.
Omit leading zeros Omit semicolons (NTSC) or colons (PAL) Enter values that exceed the normal values Include a plus sign (+) or minus sign (–) Add a period The work area bar is not visible by default. To return the work area bar to the Timeline, enable it from the panel menu by selecting Work Area Bar.
To the top Zoom into or out of a sequence in a Timeline panel Do one of the following: With the Timeline panel active, to zoom in, press +. To zoom out, press -. To zoom in, select the Zoom tool , and then click or drag a marquee selection around the part of the sequence you want to see in more detail.
Note: Note: in the track but does not affect source clips listed in the Project panel. You can add any number of tracks, limited only by your system’s resources.
Note: Note: Note: To the top affected by the edit. To enable Sync Lock for all tracks of a particular type, video or audio, Shift - click the Toggle Sync Lock box at the head of any track of that type. The Sync Lock icon will appear in the box, and Sync Lock will be enabled for those tracks.
Show Head Only Show Frames Show Name Only Show Head And Tail 2 . To resize the track, position the pointer in the track header area between two tracks so that the height adjustment icon appears, and then drag up or down to resize the track below (for video) or the track above (for audio).
Show Waveform Show Name Only Note: To the top 2 . Click the Set Display Style button , and choose an option from the menu: Displays audio waveforms in clips. Displays the name of audio clips without waveforms. For information about viewing and adjusting keyframes in video and audio tracks, see View keyframes and graphs.
Note: 2 . On the Sequence Presets tab, select a preset from the Available Presets list. 3 . Type the name of the sequence, and then click OK. You can create a new sequence from a selected clip by one of the following methods: Drag and drop a clip onto the New Item button.
Editing Mode Note: Timebase Playback Settings Frame Size Pixel Aspect Ratio Fields Robbie Carman explains how to customize sequence settings to speed up renders in this video tutorial . “FAQ: How do I choose the right sequence settings ?” Sequence Presets options Available Presets are groups of sequence settings.
Display Format (Video) Note: 30 -fps Drop - Frame Timecode 30 -fps Non Drop -Frame Timecode 24 -fps Timecode 25 -fps Timecode Feet + Frames 16mm Feet + Frames 35mm Frames Sample Rate (Audio) Display Format (Audio) Video Previews settings Preview File Format Codec Note: Premiere Pro can display any of several formats of timecode.
Width Height Reset Maximum Bit Depth Maximum Render Quality Note: Save Preset Master Note: Specifies the frame width of video previews, constrained by the pixel aspect ratio of the original media. Specifies the frame height of video previews, constrained by the pixel aspect ratio of the original media.
To the top Note: To the top To the top time base (for example, 29.97 fps, or 23.976 fps) fields (for example, progressive or interlaced) audio sample rate (for example, 32 Hz, or 48 Hz) video codec audio codec You can use the Properties panel to discover many of these parameters for your assets.
Note: To the top To the top You can choose the video preview format and resolution in the Sequence Settings dialog box. Choose a resolution lower than the sequence frame size to play back previews in real time that the computer cannot play back at full frame size.
Mono Stereo 5.1 Note: To the top Outputs a single mono channel. Outputs two mono channels with stereo panning intact. Outputs four mono channels respecting the Left -Front, Right - Front, Left - Rear, and Right - Rear panning. 4 . Enter a location and name for the project file and click OK.
To the top To the top Note: 10 . Enter a name for the sequence and click OK. Create a sequence for RED camera footage 1 . Select File > New > Sequence. 2 . On the Sequence Presets panel of the New Sequence dialog box, select a RED R3D preset that matches your footage.
Note: Repeat Frame (ABBCD) Interlaced Frame (2:3:3:2) When you apply 3:2 pulldown to footage, one frame of the film (A) is separated into two or three interlaced video fields (B) which are grouped into video frames containing two fields each.
To the top Disable 24p pulldown to simulate film - video transfer By default, Premiere Pro uses a 24p pulldown scheme to play back 24p DV footage at 29.97 fps in a project based on one of the NTSC presets. You can disable the pulldown scheme to give your movie the look of a film transferred to video or broadcast, without frame interpolation.
To the top To the top 4 . Select the Mobile & Devices presets folder. Do one of the following: To edit a movie aimed exclusively at devices supporting 3GPP video at frame sizes of 176x144 or 88x72, select the CIF, QCIF, QQCIF preset.
Note: To the top A nested sequence always represents the current state of its source. Changing the content of the source sequence is reflected in the content of nested instances. Duration is not directly affected. A nested sequence clip’s initial duration is determined by its source.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Attach closed caption files To attach a closed caption data file to a sequence, see Closed Captioning workflow in Premiere Pro.
Creating special clips (synthetics) To the top Wipe Color Background Color Line Color Target Color Numeral Color Cue Blip On Out Cue Blip On 2 Cue Blip At All Second Starts To the top Create a countin.
Note: To the top To the top To the top You can create a one -second clip containing color bars and a 1 - kHz tone, as a reference for calibrating video and audio equipment. 1 . In the Project panel, click the New Item button at the bottom of the Project panel and choose Bars And Tone.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Create a transparent video clip Transparent Video is a synthetic clip just like Black Video, Bars and Tone, and Color Matte.
Creating and playing clips To the top To the top Source clips, clip instances, subclips, and duplicate clips Duplicate a clip Creating subclips Play back a clip in the Project panel In Premiere Pro, you create clips by importing files, duplicating clips, or making subclips.
To the top Creating subclips A subclip is a section of a master (source) clip that you want to edit and manage separately in your project. You can use subclips to organize long media files. You work with subclips in a Timeline panel as you do with master clips.
Note: To the top Do one of the following: Ctrl- drag (Windows) or Command - drag (Mac OS) a clip instance from a sequence into an open bin in a Project panel. Type a name for the subclip, and click OK. Right- click a clip instance in a sequence, and select Make Subclip.
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Adding clips to sequences To the top To the top To the top Adding clips to a sequence Open a sequence Targeting tracks Drag video and audio to a sequence Drag video only or audio only to a sequence Ad.
Note: To the top Note: Note: A sequence may contain several video and audio tracks. When you add a clip to a sequence, it is important to assign which track or tracks it is to be edited to.
Note: To the top Note: If you don’t want to set In and Out points, you can drag the clip directly from a bin or the preview thumbnail in the Project panel. 2 . To make clip edges align when you drag them, make sure that the Snap button is active in a Timeline panel.
To the top Note: To the top Note: To the top Note: Add a track while adding a clip Drag a clip from the Project panel or Source Monitor into the blank space above the topmost video track (for a video or linked clip) or below the lowest audio track (for an audio or linked clip).
To the top To the top Insert or Overwrite by dragging a clip to the Program panel You can select and drag a clip from the Project panel, Source panel, or Media Browser into the Program monitor. When doing so, an overlay appears in monitor to provide a visual depiction of Overwrite versus Insert edits.
Change Clip Speed (Fit to Fill) Trim Clip’s Head (Left Side) Trim Clip’s Tail (Right Side) Ignore Sequence In Point Ignore Sequence Out Point To the top To perform an overwrite edit, click the Overwrite button . Make a four - point edit 1 . In a Project panel, double -click a clip to open it in the Source Monitor.
Ordering Placement Method Note: Clip Overlap Apply Default Audio Transition Apply Default Video Transition Ignore Audio Ignore Video To the top 3 . Select the clips in the Project panel. Either Ctrl -click (Windows) or Command - click (Mac OS) them in the order you want or by dragging a selection marquee around them.
To the top To the top Note: To the top above the clip, Premiere Pro probably can not play it back in real time without rendering. A clip with a frame rate different from the frame rate of the sequence will play back from a sequence at the frame rate of the sequence.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Sequence In and Out points are automatically removed when you perform a lift or extract edit from the Program Monitor.
Correcting mistakes To the top To the top Correct mistakes History panel Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To navigate in the History panel, drag the panel’s slider or scroll bar; or choose Step Forward or Step Backward from the panel menu.
Working with clips in a sequence To the top Note: To the top To the top Find a clip in any sequence with Clip Usage View the source of a sequence clip in the Project panel Analyze speech for text XMP .
Note: Note: Note: Select the merged clip, and then choose Clip > Analyze Content. You can analyze multiple merged clips, multiple clips, or a combination of both by selecting the clips, and then choose Clip > Analyze Content.
Note: Note: To insert, delete, merge, cut, or copy words, right - click an existing word, and choose a command from the context menu. Copy text from speech metadata to the clipboard for use in a text editor Right- click the transcript, and choose Copy All.
Note: Note: To the top that standard speech analysis cannot provide. To find and fix more errors, you can make side- by- side comparisons of the text of the Adobe Story script with the text of the speech analysis.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Group clips You can group multiple clips so that you can move, disable, copy, or delete them together. Both audio and video tracks of a linked clip are included when you group it with other clips.
Trimming clips (CS5 and CS5.5) To the top To the top Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline Trimming (CS5.
To the top Zoom in or out on an audio waveform in the Source Monitor You can zoom into an audio waveform in the Source Monitor to better identify locations for markers, In points, or Out points. 1 . Double -click an audio clip in the Project panel to open it in the Source Monitor.
Note: Open and view recent clips from the Source Monitor You can load more than one clip at a time in the Source Monitor. However, you can view only one clip at a time. Recently loaded clips are available from a menu at the top of the Source Monitor. 1 .
Note: Note: Note: Note: Adjusting edit points in the Source Monitor Sometimes, adjusting In and Out points after a clip is in the Timeline is necessary. If you open a clip from the Timeline into the Source Monitor, you can drag the In/Out Grip in the Source Monitor to set new locations for the In and Out points.
To the top Note: Note: Timeline Trimming (CS5.5, and earlier) Trim with Trim - in and Trim - out tools You can change a clip’s In point or Out point by dragging its edge in a Timeline panel. As you drag, the current In or Out point appears in the Program Monitor.
Note: To the top 2 . Select [Custom] from the Set drop - down menu. 3 . Select Application from the drop - down menu of keyboard command types. 4 . Scroll down to Trim In Point To Playhead and Trim Out Point To Playhead. 5 . Set keyboard shortcuts for Trim In Point To Playhead and Trim Out Point To Playhead.
Program Monitor and Timeline during a rolling edit Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames. This action effectively moves the edit point between clips, preserving other clips’ positions in time and maintaining the total duration of the sequence.
Note: Make rolling edits (extend edits) with the playhead You can move the In point or Out point of a clip in a sequence to the playhead, without leaving gaps in the sequence. This type of editing is sometimes called extending an edit, or using extend edit commands.
To the top Timeline panel during (above) and after (below) a ripple edit When using the Selection tool, you can toggle from the Trim- in or Trim- out icon to a Ripple edit icon by pressing the Ctrl (Windows) or Command (Mac OS) key. Release Ctrl (Windows) or Command (Mac OS) to revert to the Selection tool.
To the top In this slip edit, a clip is dragged left, moving its source In and Out points later in time. 1 . Select the Slip tool . 2 . Position the pointer on the clip you want to adjust, and drag left to move the In and Out points later in the clip, or drag right to move the In and Out points earlier in the clip.
To the top You can create a split edit by unlinking the video from the audio in adjoining clips in a sequence, and then trimming audio separately from video so that the video of one overlaps the audio of the other. Typically, a rolling edit (or extend edit) is used for this task.
Note: Make a rolling edit using the Trim Monitor 1 . In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. 2 . Click in the Sync Lock box in the header of any track you want to shift when the rolling edit is made.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Drag the left or right jog disk to trim the corresponding clip. Drag the Outgoing Out Point icon in the left view’s time ruler, or drag the Incoming In Point icon in the right view’s time ruler.
Editing audio 358.
Overview of audio and the Audio Track Mixer To the top Working with audio Audio tracks in a sequence Channels in audio clips Mixing audio tracks and clips Processing order for audio Making quick audio.
To the top Standard Mono (monophonic) Adaptive 5.1 To the top Note: For advanced editing using Adobe Edition, select Edit > Edit in Audition . Audio tracks in a sequence A sequence can contain any combination of the following audio tracks: The standard track replaces the previous stereo track type.
To the top To the top Note: To the top To the top To preserve the matrix of an imported 5.1 audio clip, use the clip in a 5.1 audio track in a sequence. To use the component channels as discrete multi -mono tracks in a sequence, import or remap the clip into mono channels.
To the top waveform shows the amplitude (loudness or quietness) of the audio—the larger the waveform, the louder the audio. Viewing the waveforms in an audio track is helpful for locating specific audio in a clip. To view a waveform, expand the audio track by clicking the triangle next to the audio track name.
Audio Track Mixer A. Pan/balance control B. Automation mode C. Mute Track/Solo Track/Enable Track For Recording buttons D. VU meters and faders E. Track name F. Clipping indicator G. Master VU meter and fader By default, the Audio Track Mixer displays all audio tracks and the master fader, and the VU meters monitor output signal levels.
Note: Audio Mixer A. Show/Hide Effects and Sends B. Effects C. Sends D. Track Output Assignment E. Automation Mode Modify the Audio Track Mixer 1 . Choose any of the following from the Audio Track Mixer menu: To display or hide specific tracks, choose Show/Hide Tracks, use the options to mark the tracks you want to see and click OK.
Note: Note: Solo in Place Monitor Mono Channels Only the tracks with the Solo Track button enabled are monitored during playback. You can also silence a track using the Mute Track button. Audio Meters panel 1 . Select Window > Audio Meters. Audio Meter panel A.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Monitor Stereo Pairs Note: Only available for sequences with multi - channel masters played in the Timeline.
Working with clips, channels, and tracks To the top Note: Mapping source and output audio channels Audio channel icons Extract audio from clips Render and replace audio Break a stereo track into mono .
Note: Note: Note: To enable or disable an audio channel, select or deselect the Enable option for a source channel. When you add a clip to a sequence, Premiere Pro adds only the enabled channels to a Timeline panel. To map a source channel to a different output track or channel, drag a track or channel icon to another source channel row.
Note: To the top To the top You can specify the channel in a target hardware audio device for each channel in a sequence Master track. You map channels in the Audio Output Mapping pane of the Preferences dialog box. Premiere Pro plays each sequence channel through the hardware channel you specify.
To the top To the top Note: 1 . In the Project panel, select one or more clips containing audio. 2 . Choose Clip > Audio Options > Extract Audio. Premiere Pro generates new audio files containing the extracted audio, with the word “Extracted” added to the end of the filenames.
To the top Note: To the top To the top 2 . In the Source Channel Mapping area, choose Mono from the Default Track Format menu. 3 . Click OK. Use a mono clip as stereo You may sometimes find it useful to use a mono audio clip as a stereo clip. Using the Modify Clip dialog box, you can apply a mono clip to a pair of left and right stereo channels.
To the top To the top Effects applied to audio tracks in multi -clip link displayed in Effect Controls panel Link audio clips The audio clips must have the same channel type and each clip must be on a different track.
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Editing audio in a Timeline panel To the top Set sample -based audio In and Out points Link and unlink video and audio clips Create split edits Set sample -based audio In and Out points In and Out points are set at time - base divisions—that is, between video frames.
To the top Note: 3 . Drag either end of the zoom scroll bar below the time ruler in the Source Monitor or Timeline panel. Trim audio in sample view in a Timeline panel 1 . In a Timeline panel menu, choose Show Audio Time Units. The time rulers in a Timeline panel and Program Monitor switch to a sample - based scale.
Note: Move Into Sync Slip Into Sync To the top To unlink video and audio, select a linked clip and choose Clip > Unlink. To unlink video and audio from multiple clips, select the clips and choose Clip > Unlink. After unlinking a clip, video remains selected while audio becomes deselected.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 1 . If necessary, click the triangle to the left of each track name in a Timeline panel to expand the audio tracks you want to adjust.
Recording audio To the top To the top To the top Capturing analog audio Set the location for captured audio Preparing the audio input channel for recording Record audio from a microphone or another analog source Mute input during recording You can record to an audio track in a new sequence or record to a new audio track in an existing sequence.
To the top Note: Note: Record audio from a microphone or another analog source 1 . Make sure that you have specified the Input audio device. For more information, see Specify the default audio device. 2 . Make sure that the input device (microphone or other audio device) is connected properly to the computer or sound card.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top A. Record Enable button for track B. Record button for Audio Track Mixer 13 . Test the input levels by playing a selection from the analog source, or by having the narrator speak into the microphone.
Recording audio mixes To the top Note: Record changes to sound tracks Preserve a track property while recording an audio mix Audio Track Mixer automation modes Set Automatch Time for Touch mode and Read mode Specify automated keyframe creation Using the Audio Track Mixer, you can apply changes to audio tracks as a sequence plays back.
To the top Note: To the top Off Read Write Latch Touch To the top 9 . Click the Show Keyframes button at the head of the audio track you changed, and select Show Track Keyframes. 10 . Click the clip header toward the top left of an audio clip you changed, and choose from the drop -down menu the type of change you recorded.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top When you stop adjusting an effect property in Touch mode, the property returns to its initial value. This is also the case while in Read mode if a keyframe exists for the affected parameter.
Panning and balancing Note: To the top Panning and balancing in the Audio Track Mixer Pan or balance a stereo track Pan or balance a 5.1 surround track Pan or balance a 16 - channel track Pan or balance a track in a Timeline panel By default, all audio tracks output to the sequence master audio track.
To the top To the top To the top Note: sequence is possible when you use the sequence as a track in another sequence. You can vary the pan setting over time in the Audio Track Mixer, or in a Timeline panel by applying keyframes to a track’s Pan options.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Selecting channel 12 for the output from the left - front channel of a 5.1 audio track A. Direct Output Assignment buttons for a stereo track B.
Multiple stereo assignments for tracks to multichannel masters Keywords: Multichannel audio, multi channel stereo, audio mixing, audio mixer, channel assignments, audio channels Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Monitor clip volume and pan using Audio Clip Mixer To the top New in Premiere Pro CC The Audio Clip Mixer lets you adjust the volume and pan of clips in the Timeline panel when the Timeline panel is in focus. You can also monitor and adjust the volume and pan of clips in the Source monitor when it is in focus.
Keywords: Audio Clip Mixer, Clip Mixer, audio mixer, audio mixing, video clip mixer Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Clip Mixer with channel A2 empty The Clip Mixer lets you adjust clip volume, channel volume, and clip pan.
Editing audio in Adobe Audition Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Working with Adobe Audition Adobe Audition lets you use advanced post - production techniques to create and edit audio.
Advanced mixing To the top To the top Work with submixes Route tracks with sends Downmixing to fewer channels Change 5.1 audio to stereo or mono Routing track output Route or turn off track output Work with submixes A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence.
Note: Each track contains five sends, located in the Effects And Sends panel in the Audio Track Mixer. Sends are often used to route a track’s signal to a submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix.
To the top To the top Note: To the top Note: To the top 1 . (Optional) To display the Effects And Sends panel in the Audio Track Mixer, click the Show/Hide Effects And Sends triangle at the left side of the Audio Track Mixer.
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Adjusting volume levels To the top To the top To the top Monitor volume level from Timeline, or Program Monitor Monitor volume level while capturing Specify whether to play audio while scrubbing Adjus.
To the top To the top Set Gain To Timeline. You can change this setting, if you prefer silent scrubbing. 1 . Select Edit > Preferences > Audio (Windows), or Premiere Pro > Preferences > Audio (Mac OS). You can assign a keyboard shortcut to the Preferences > Audio command.
Adjust Gain By Normalize Max Peak To Normalize All Peaks To To the top Note: To the top Show Clip Keyframes Show Clip Volume Show Track Keyframes opened for selected clips that have already had their gain adjusted, the current gain value is displayed in this field.
Show Track Volume Note: Note: To the top Note: To the top To the top Lets you change only a track’s volume level. 3 . If one of the Keyframes settings is selected, do one of the following: If Show Clip Keyframes is selected, choose Volume > Level from the drop -down menu at the head of the clip in the audio track.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: To the top Set track volume in the Audio Track Mixer In the Audio Track Mixer, adjust the track’s volume setting.
Titling and the Titler 400.
Titler text styles To the top Text Only Small Thumbnails Large Thumbnails To the top Modify the style swatch display Change the default characters in swatches Create a style Apply a style to an object.
To the top To the top To the top To the top You can change the default characters that appear on the style swatches. 1 . Choose Edit > Preferences > Titler (Windows), or Premiere Pro > Preferences > Titler (Mac OS). 2 . In the Style Swatches box, type up to two characters that you would like to appear on the style swatches.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top This procedure deletes only the swatch or name from the display area.
Working with text and objects in titles javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/text -objects -titles/jcr:content/jcr:title: not allowed to add or modify item To the top.
Note: To the top button F. Vertical distribution buttons Center objects in titles 1 . In the Titler, select one or more objects. 2 . In the Title Actions panel, click the button for the type of centering you want. You can center objects using the Title > Position command and selecting the option you want.
Note: Note: The opacity property setting adjusts the opacity of objects within a title. You can set the overall opacity of the entire title in the sequence as you would that of any video clip, using effects. Adjust the position of objects 1 . Select an object, or Shift -click to select multiple objects.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: 1 . Select the object, or Shift -click to select multiple objects. 2 . In the Properties section of the Title Properties panel, click the triangle next to Distort to show its X and Y options.
Rolling and crawling titles Note: To the top Note: To the top Start Off Screen End Off Screen Preroll Ease- In Ease- Out Create a rolling or crawling title Roll/Crawl Timing options Convert a title to another type Though static titles, graphics, and logos suffice for some projects, many others require titles that move across the screen.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Postroll Crawl Left, Crawl Right To the top Specifies the number of frames that play after the roll completes. Specifies the direction in which the crawl moves.
Fills, strokes, and shadows in titles javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/fills -strokes-shadows -titles/jcr:content/jcr:title: not allowed to add or modify item To .
4- Color Gradient Bevel Eliminate Ghost To the top Note: To the top color stop you want to define and adjust as necessary. The Angle option (available for Linear Gradient only) specifies the angle of the gradient. The Repeat option specifies the number of times to repeat the gradient pattern.
Flip With Object Rotate With Object Scaling Object X, Scaling Object Y Scaling Horizontal, Scaling Vertical Scaling Tile X, Scaling Tile Y Alignment Object X, Alignment Object Y Alignment Rule X, Alignment Rule Y Alignment X Offset, Alignment Y Offset Blending Mix Alpha Scale Composite Rule Invert Composite Note: To the top 5 .
Type Size Angle Magnitude Fill Type To the top To the top you can easily change that order. 1 . Select the object. 2 . In the Properties section of the Title Properties panel, expand the Strokes category. 3 . Click Add next to either Inner Stroke or Outer Stroke.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Distance Size Spread 5 . Select either Inner Stroke or Outer Stroke. 6 . Click Delete. Create a drop shadow Add drop shadows to any object you create in the Titler.
Drawing shapes in titles To the top To the top Note: Create shapes Change the shape of a graphic object or a logo Draw straight segments with Pen Tool Draw curves with Pen Tool Adjust object anchor points and curves Create shapes You can use the drawing tools in the Titler to create various shapes, such as rectangles, ellipses, and lines.
To the top Note: To the top Note: Draw straight segments with Pen Tool Draw straight lines by clicking Pen Tool in the drawing area. Pen Tool creates object anchor points connected by straight segments.
To the top To create a C -shaped curve, drag in a direction opposite to the direction that you dragged to create the previous object anchor point. Drawing second point in curves To create an S -shaped curve, drag in the same direction that you dragged to create the previous object anchor point.
Note: Note: Graphic type Line Width Cap Type 3 . Click the point that you want to delete. Adjust an object anchor point 1 . Select the path containing the object anchor point. 2 . Select Pen Tool . 3 . Position the cursor over the point. When the cursor becomes an arrow with a square next to it, drag the object anchor point to adjust it.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Join Type Miter Limit Note: paths with semicircular ends. The Square option caps paths with square ends that extend half the line width beyond the end of the line.
Creating and formatting text in titles javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/creating -formatting -text -titles/jcr:content/jcr:title: not allowed to add or modify ite.
Note: Note: Wrap text automatically You can set the titler to wrap text within the title safe area automatically. Select Title > Word Wrap. Type horizontal or vertical text in a text box 1 . Open the Titler Tools panel. To type horizontal text, click the Area Type tool .
To the top Note: or graphic object, click the object and then modify its properties. Format text in titles Some object properties—such as fill color and shadow—are common to all objects you create in the Titler. Other properties are unique to text objects.
Note: Font Font Size Aspect Leading Note: Kerning Tracking Baseline Shift Slant Small Caps Small Caps Size Underline To the top Specify text properties When you select any object in a title, its properties are listed in the Title Properties panel. Adjusting values in the panel alters the selected object.
To the top Note: Note: Tools in the Titler make it possible to quickly resize and align paragraph text. Change paragraph justification Select a paragraph text object, and at the top of the Titler panel: To justify text to the left of its text box, click Left .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Delete a tab stop In the Tab Stops dialog box, drag the tab up, down, or off the tab ruler.
Creating and editing titles To the top Note: Create new titles Open, import, or export a title About safe margins in the Titler Choose, create, and import title templates Show video behind the title The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well.
To the top Note: Note: To the top 1 . In the Titler, open or select the title on which you want to base a new title. 2 . In the Title Quick Properties panel, click New Title Based On Current Title . 3 . In the New Title dialog box, enter a name for the new title and click OK.
Note: To the top Note: Note: TVs display, keep text within the title -safe margins. Keep all other important elements within the action - safe margins. If you are creating content for the web or for CD, the title- safe and action - safe margins do not apply to your project.
Note: To the top To restore the default set of templates, choose Restore Default Templates from the Templates panel menu. 2 . Click OK. Rename or delete a template With a title open, click the Templates button and select a template. To rename the selected template, choose Rename Template from the Templates panel menu.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: revealing the image of clips in lower tracks. In the Titler panel, select Show Video. To change the frame interactively, drag the time value next to Show Video until the frame is visible in the drawing area.
Add images to titles Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: To the top To the top Place a logo in a t.
Effects and transitions 432.
Motion: position, scale, and rotatea clip To the top Note: Note: Adjust position, scale, and rotation Scale assets Animate motion in the Program Monitor Adjust or animate clip anchor points Adjust position, scale, and rotation Use the Motion effect to position, scale, or rotate a clip within the video frame.
To the top To rotate a clip or effect, position the pointer slightly outside any of the handles, so that the pointer changes into the Rotate icon and drag. For the Motion effect, you can also drag in a circular motion until the clip rotates the number of times you want to create multiple rotations.
To the top Note: 3 . Click OK. Animate motion in the Program Monitor You can create animations, insets, and split screens by manipulating a clip directly in the Program Monitor and setting keyframes for the Motion effect.
Note: Note: 5 . In the Program Monitor, change the keyframe value by positioning the pointer near any of the clip’s eight square handles to use any of the following pointer tools: The selection pointer to set the position value. The rotate pointer to set the rotation value.
To the top 3 . Click the triangle next to the Motion control in the Effects Controls panel. 4 . Click the Toggle Animation button next to the Position control to set the first keyframe. 5 . Drag the current - time indicator in either a Timeline panel or the Effect Controls panel to the frame where you want to end the animation.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 5 . Drag the anchor point vertical control to the left (decreasing the number value) to offset the anchor point toward the top of the clip, or to the right (increasing the number value) to offset it toward the bottom.
Viewing and adjusting effects and keyframes To the top View effects in the Effect Controls panel View keyframes for an effect property in the Timeline panel Adjust or reset controls in the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip.
Note: Note: To the top To the top It is not necessary to position the current - time indicator over a clip to activate the Effect Controls panel. To expand or collapse video or audio effects headings, click the Show/Hide button in the heading. When the arrows are pointing up , the heading is expanded to reveal all the effects in that section.
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Transition overview: applying transitions To the top Clip handles and transitions Single - and double- sided transitions Applying transitions Apply a transition between two clips Apply a single - side.
To the top Note: A. Media Start B. Handle C. In point D. Out point E. Handle F. Media End In some cases, the source media may not contain enough frames for clip handles. If you apply a transition, and the handle duration is too short to cover the transition duration, an alert appears to warn you that frames will be repeated to cover the duration.
To the top Note: To the top Note: To the top End At Cut icon Start At Cut icon Applying transitions To place a transition between two clips (centered on the cut line), the clips must be on the same track, with no space between them. As you drag the transition to a Timeline panel, you can adjust the alignment interactively.
Note: To the top As you drag over heads or tails of clips in a Timeline panel, you can see the area covered by the transition outlined. To place a transition at the end of a clip that is not adjacent to another clip, drag and drop the transition. Don’t Ctrl -drag (Windows) or Command -drag (Mac OS).
Note: To the top To the top You can add the default video transition between clips in a video track by pressing Ctrl+D (Windows) or Command+D (Mac OS). You can add the default audio transition between two clips in an audio track by pressing Ctrl+Shift+D (Windows) or Command+Shift+D (Mac OS).
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top If you paste a transition without selecting edit points, the transitions are pasted to edit points at or near the playhead, without overriding track targeting.
Three -way Color Corrector effect Output menu Split view Master color wheel Shadows, Midtones, and Highlights color wheels Input Level, Output Level, and Secondary Color Correction Secondary Color Cor.
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Stabilize motion with the Warp Stabilizer effect To the top Note: To the top Note: Cancel Stabilization Result Stabilize with the Warp Stabilizer effect Warp Stabilizer settings You can stabilize motion with the Warp Stabilizer effect.
Smoothness Method Note: Framing Note: Auto- scale Additional Scale Detailed Analysis Rolling Shutter Ripple Crop Less < - > Smooth More Chooses how much the camera’s original motion is stabilized. Lower values are closer to the camera’s original motion while higher values are smoother.
Synthesis Input Range (seconds) Synthesis Edge Feather Synthesis Edge Cropping Hide Warning Banner Used by Stabilize, Synthesize Edges framing, controls how far backward and forward in time the synthesis process goes to fill in any missing pixels. Selects the amount of feather for the synthesized pieces.
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The rolling shutter repair effect Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: A common problem for DSLR and other CMOS sensor - based cameras is that they typically have a lag time between scanning lines of video.
Modifying and customizing transitions To the top Note: To the top Display transitions in the Effect Controls panel Adjust transition alignment Move a cut and transition together Change transition dura.
Note: To the top You can’t change a double - sided transition into a single - sided transition. If you realign a double -sided transition to the start or end of a clip, it will use handles from the adjacent clip. Align a transition in a Timeline panel 1 .
Note: To the top Center At Cut or Custom Start Start At Cut End At Cut Move a cut and transition together You can adjust the location of the cut in the Effect Controls panel. Moving the cut line changes the In and Out points of the clips, but does not affect the length of the movie.
To the top To the top Edge selectors Start and End sliders Show Actual Sources Border Width Border Color Reverse Anti - Aliasing Quality Set the default duration for transitions If you change the default, the new setting has no affect on transitions already placed.
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Interlacing and field order To the top To the top Interlaced video, noninterlaced video, and progressive scanning About field dominance and field reversal Create interlaced or non - interlaced clips C.
To the top None Interlace Consecutive Frames Always Deinterlace Note: Flicker Removal To the top The video capture card used to capture the footage is set to the field dominance opposite that of the s.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 2 . Select Modify >Interpret Footage.
Adjustment Layers To the top To the top Adjustment Layers Create an adjustment layer Resize an adjustment layer to highlight an area Blend modes and adjustment layers Transform effect and adjustment l.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 1 . Double -click the adjustment layer in the Timeline display area. 2 . Drag the anchor point in the center of the screen to reposition the adjustment layer, and then drag the edge of the clip to scale it down.
About effects To the top Note: To the top Fixed effects Standard effects Clip - based and track - based effects Effect plug - ins GPU - accelerated effects High -bit - depth effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program.
Note: To the top To the top Note: To the top Standard effects are additional effects that you must first apply to a clip to create a desired result. You can apply any number or combination of Standard effects to any clip in a sequence.
Note: GPU- Accerlerated Effects Performance Enhancements Optimize a Computer for the Mercury Playback Engine For instructions on filtering the effects in the Effects panel so that you can easily find the accelerated effects, see Filter effects by type.
Black & White Brightness & Contrast Color Balance (RGB) Color Pass (Windows only) Color Replace Crop Drop Shadow Edge Feather Eight- Point Garbage Matte Extract Fast Color Corrector Four- Poin.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Additive Dissolve Film Dissolve The New Film Dissolve Effect L.
Eliminate flicker Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens.
Effect presets To the top Effect presets Create and save an effect preset Apply an effect preset Work with a custom bins and preset bins Effect presets Applying Effects to Groups of Clips In the Effects panel, the Presets bin contains presets for popular effects.
To the top Scale Anchor To In Point Anchor To Out Point To the top Creating, Saving, and Applying Presets An example of using Effect Presets is found in this video tutorial . Create and save an effect preset 1 . In a Timeline, select the clip that uses one or more effects with the settings that you want to save as a preset.
To the top Note: Drag the effect preset onto the clip in a Timeline panel. Select the clip in a Timeline panel, and then drag the effect preset into the Effect Controls panel.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy and the bin. 3 . Drag the item to the bin.
Duration and speed To the top Note: To the top Note: To the top View the total duration of selected clips Change the default duration for still images Change speed and duration for one or more clips Blend frames for smooth motion Freeze a frame View the total duration of selected clips 1 .
choose Clip > Video Options > Frame Blend. For more information about frame blending, see Blend frames for smooth motion . The duration of a clip is the length of time it takes to play from the In point to the Out point. You can set a duration for video or audio clips, letting them speed up or slow down to fill the duration.
Note: 1 . In the track header of the video track containing the desired clip, click the Show Keyframes button. If it is not selected, select Show Keyframes. 2 . Click the Clip Effect menu triangle, and choose Time Remapping > Speed. (The Clip Effect menu triangle appears next to the filename of every clip in a video track.
Note: Time -remapping distorts time for range of frames within clip. It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer.
Note: Note: Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer. 4 . (Optional) To create a speed transition, drag the right half of the speed keyframe to the right, or the left half to the left.
A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation. A white speed control track appears in the upper portion of the clip, just below the clip title bar.
Note: To the top To the top Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline. In effect, Time Remapping performs an edit.
Note: 2 . Ctrl - click (Windows) or Command- click (Mac OS) on the rubber band to create a speed keyframe . 3 . Ctrl+Alt - drag (Windows) or Option+Command -drag (Mac OS) the speed keyframe to the place at which you want the freeze frame to end. Be sure to drag the rubber band horizontally, not vertically as you do with other keyframes.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Hold Filters Deinterlace Note: 1 . Select a clip in a Timeline panel. 2 . To freeze a frame other than the In or Out point, open the clip in the Source Monitor, and set Marker 0 (zero) to the frame you want to freeze.
Creating common results To the top To the top To the top To the top Fade in video Picture - in - picture (PIP) and split screen Zoom and pan a still image Place lightning over part of a clip Create a Jacob’s Ladder Make reverb ring out This section contains procedures for achieving of some of the most popular results with Premiere Pro.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top 1 . Place a Transparent Video clip in a video track above the original clip. 2 . Apply the Lightning effect to the Transparent Video clip.
Color correction and adjustment To the top Enhanced in Premiere Pro CC The new Lumetri Deep Color Engine integration in Premiere Pro CC lets you apply SpeedGrade color grades and sophisticated looks within Premiere Pro. You can use the new Lumetri Looks folder in the Effects panel to apply rich preset color grading effects easily.
Note: To the top Note: Note: Vectorscope You apply the Color Correction effects to a clip the same way you apply all Standard effects. The effect properties are adjusted in the Effect Controls panel. The Color Correction effects and other color effects are clip - based.
YC Waveform YCbCr Parade RGB Parade All Scopes Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade To the top Note: Note: Note: Displays the luminance (represented as green in the waveform) and chrominance (represented as blue) values in your clip.
To the top To adjust color balance and saturation using color wheels, adjust the Hue Balance and Angle wheels or numeric controls in the Fast Color Corrector or Three- Way Color Corrector effect. See also Color balance, angle, and saturation controls .
Note: To the top Auto Black Level Auto Contrast Auto White Level To the top Hue Angle Balance Magnitude To color balance by neutralizing a black area in the image, select the Black Balance eyedropper and click an area that’s supposed to be black.
Balance Gain Balance Angle To the top (intensity). The intensity can be fine -tuned by moving the Balance Gain handle. Affects the relative coarseness or fineness of the Balance Magnitude and Balance Angle adjustment. Keeping the perpendicular handle of this control close to the center of the wheel makes the adjustment very subtle (fine).
Note: to clips . 3 . In the Effect Controls panel, click the triangle to expand the Fast Color Corrector or the Three - way Color Corrector controls. 4 . (Optional) Select the Show Split View option if you want to view a before and after comparison of your adjustment in the Program Monitor.
To the top Luma Curve RGB Curves Note: shadows, midtones, and highlights. 7 . Use the Saturation control to adjust the color saturation in the image. Moving the slider to the left (lower value) desaturates the colors. Moving the slider to the right (higher values) increases the color saturation.
To the top As you make adjustments, watch carefully for banding, noise, or polarization in the image. If you notice any of these, reduce the value you are adjusting. Jeff Sengstack explains how to adjust color channels using RGB Color Corrector and RGB Curves effects in this lynda.
Black Output slider White Output slider Black Level eyedropper Gray Level eyedropper White Level eyedropper Black Input Level slider Gray Input Level slider White Input Level slider Note: To the top 7 . Use the Output Levels slider controls to set the maximum black and white levels: Controls the resulting output of the shadows.
H S B (in the HSB section) R G B (in the RGB section) Select a color with the Adobe Color Picker You can use the Adobe Color Picker to set target colors in some color and tonal adjustment effects. Clicking a color swatch in an effect’s controls opens the Adobe Color Picker.
Note: To the top Note: 3 . Do any of the following: Drag the triangles along the color slider, or click inside the color slider to adjust the colors displayed in the color spectrum. Click or drag inside the large square color spectrum to select a color.
To the top Note: Soften Edge Thinning Specify a color or range of colors to adjust The Secondary Color Correction property specifies the color range to be corrected by an effect.
To the top To the top Replace a color If you need more control than the Color Replace effect offers, use the Secondary Color Correction controls in the RGB Corrector, RGB Curves, and Three - way Color Corrector. These controls let you apply changes to a single color or a range of colors.
To the top Note: To the top you can drag the slider. Mix color channels in a clip 1 . In the Effects panel, click the triangle to expand the Video Effects bin, and then click the triangle to expand the Adjust bin. 2 . Drag the Channel Mixer effect to the clip in a Timeline panel.
To the top Note: To the top Note: To animate this effect, use the keyframe features in the Effect Controls panel. Adjust edges, blurs and brightness using Convolution presets You can control the fine details of blurring, embossing, sharpening, and other effects by applying the Convolution Kernel effect or one of the convolution presets based on it.
None Directional Omni Spotlight Note: Center Major Radius Projected Radius Lighting Effects: Original image (left), Spotlight applied to image (center), and Omnilight applied to image (right) 1 . In the Effects panel, expand the Video Effects bin, expand the Adjust bin, and then drag the Lighting Effects onto a clip in a Timeline panel.
Minor Radius Angle Intensity Focus Note: Ambient Light Color Ambience Intensity Surface Gloss Surface Material Exposure To the top image. In the Program Monitor, you can also drag the light source point to adjust its distance from the Center circle. Adjusts the width of a Spotlight.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 5 . (Optional) Click the triangle next to Light 1 to adjust the light’s properties. 6 . Choose the video track containing the bump layer from the Bump Layer menu.
Working with audio transitions To the top To the top To the top Specify the default audio transition Set the default duration for audio transitions Crossfade between audio clips Fade in or fade out clip audio Adjust or customize an audio transition You can apply crossfades for audio transitions between clips.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top To add the default audio transition, move the current - time indicator to the edit point between the clips, and choose Sequence > Apply Audio Transition.
Audio effects and transitions To the top Center Q Audio effects Audio crossfade transitions For video effects, see Effects and transitions reference. Audio effects Balance effect The Balance effect lets you control the relative volumes of the left and right channels.
Bypass Custom Setup Individual Parameters LfoType Rate Depth Mix Feedback Delay Threshold DePlop Keyframeable option that specifies whether to apply or bypass the Chorus effect. Opens a mixer - style control panel that controls the properties with knobs.
Threshold Reduction Efficiency meter Audition Gain Male and Female Reduction Frequency Filter Delay Feedback Mix Determines the detection level for the crackles. This control ranges from 0 to 100%. Determines the amount by which the crackles will be reduced.
Noisefloor Freeze Reduction Offset AutoGate Threshold Attack Release Hold Compressor Threshold Ratio Attack Release Auto MakeUp Expander Threshold tape recordings. This effect is available for 5.1, stereo, or mono clip. Specifies the level (in decibels) of the noise floor as the clip plays.
Ratio Limiter Threshold Release SoftClip Frequency Gain Cut Q Output LFO Type Sets the rate at which signals are expanded, up to 5:1. For example, if the ratio is 5:1, a level decrease of 1 dB is expanded by 5 dB, resulting in a much faster decrease of the signal.
Rate Depth Mix Feedback Delay Solo MakeUp BandSelect Crossover Frequency Output Threshold 1 - 3 Ratio 1 - 3 Specifies the speed of the Low Frequency Oscillator. Determines the gain level of the modulation waveform, thus controlling the depth of the effect.
Attack 1 - 3 Release 1 - 3 Delay 1 - 4 Feedback 1 - 4 Level 1 - 4 Mix Center Q Center Q Boost LFO (Low Frequency Oscillator) Type Rate Specifies the time (between 0.1 and 10 milliseconds) the compressor takes to respond to a signal that exceeds the threshold.
Depth Delay Feedback Mix Pitch Fine Tune Formant Preserve Pre Delay Absorption Size Density Lo Damp Hi Damp Mix Determines the gain level of the modulation waveform, and thus controls the depth of the effect. Ranges from 0 to 100%. To achieve a variety of possible effects, the phase - shifted signal will be delayed against the original signal.
Freq (1 - 3) Reduction (1 - 3) Filter (1 -3) MaxLevel CursorMode To the top Determines the center frequency of each of the notch filters. Sets the input gain level at which the color red appears in the meter for a given track. Activates the corresponding filter bank.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Exponential Fade fades out the first clip over a smooth logarithmic curve while fading up the second clip, also over a smooth logarithmic curve.
Applying, removing, finding, and organizingeffects To the top Note: Find and group effects Apply effects to clips Copy and paste clip effects Remove selected effects from a clip Remove all effects fro.
Note: To the top To the top Remove a Custom bin 1 . In the Effects panel, select a Custom bin and do one of the following: Click the Delete Custom Items button . Choose Delete Custom Items from the Effects panel menu. Press Delete. Press Backspace. You can remove Custom bins only from the Effects panel.
Note: To the top Note: To the top If the effect includes keyframes, these keyframes appear at comparable positions in the target clip, starting at the beginning of the clip. If the target clip is shorter than the source clip, keyframes are pasted beyond the target clip Out point.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Disable or enable effects in a clip Select one or more effects in the Effect Controls panel, and do one of the following: Click the Effect button to disable effects.
Applying effects to audio Note: Note: Applying audio effects in the Audio Mixer Apply a track effect in the Audio Mixer Adjust audio track effects in a Timeline Copy and paste track effects Designate .
To the top To the top Using Audio Effects in Premiere Pro These Premiere Pro tutorial videos by Phil Hawkins at Infinite Skills go through a few of the most common audio presets and effects. See this video tutorial on applying audio effects in Premiere Pro by Andrew Devis on the Creative COW website.
Note: To the top To the top To the top Apply a track effect in the Audio Mixer 1 . (Optional) To display the Effects And Sends panel in the Audio Mixer, click the Show/Hide Effects And Sends triangle at the left of the Audio Mixer.
To the top To the top Note: To the top Note: In the Effects And Sends panel of the Audio Mixer, right - click (Windows) or Control - click (Mac OS) an effect and choose Pre - Fader or Post - Fader.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: 3 . Double -click the effect name. The VST editor panel opens. This panel can be docked or grouped like any other panel.
Animation and keyframes 526.
Optimize keyframe automation Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Linear Keyframe Thinning Minimum Time Interval Thinning Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance.
Moving and copying keyframes To the top Note: Note: To the top To the top Move keyframes in time Determine keyframe snapping Copy and paste keyframes Move keyframes in time The first keyframe always uses the Start Keyframe icon and the last keyframe always uses the End Keyframe icon .
2 . Select one or more keyframes. 3 . Choose Edit > Copy. 4 . Do one of the following: Move the current- time indicator to where you want the first keyframe to appear and choose Edit > Paste.
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Controlling effect changes using keyframe interpolation javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/controlling -effect -changes -using- keyframe/jcr:content/jcr:title: not .
Linear Bezier Auto Bezier Continuous Bezier Hold Ease In Ease Out Note: To the top Changing keyframe interpolation for the Position property of the Motion effect A. Linear spatial keyframe B. Auto Bezier interpolation C. Continuous Bezier interpolation 1 .
To the top Timeline panel, the Effect Controls panel, or the Program Monitor. Create Bezier keyframes 1 . In a Timeline panel, select the clip containing the keyframes you want to adjust, and then do one of the following: (Timeline panel) Choose the property you want to adjust from the effect menu next to the clip or track name.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: Note: Velocity graph A.
Animating effects To the top To the top To the top Note: About animating effects About keyframes Working with keyframes About animating effects Although commonly used to mean “move a figure across the screen,” we use the word animate here to mean “change an attribute through time.
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Adding, navigating, and setting keyframes To the top View keyframes and graphs Move the current -time indicator to a keyframe Add, select, and delete keyframes Modify keyframe values To animate a property is to change its value over time. In Premiere Pro, effect properties can be animated by assigning keyframes to them.
Effect Controls A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip.
Show Keyframes Show Opacity Handles Hide Keyframes Show Clip Keyframes Show Clip Volume Show Track Keyframes Show Track Volume Hide Keyframes 2 . For a video track, click the Show Keyframes button , and choose any of the following from the menu: Displays the graph and keyframes of any video effect applied to clips in the track.
To the top To the top Choosing from the effects menu 7 . Place the pointer directly over a keyframe to view its property in a tool tip. The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel.
Note: Note: Note: You can add keyframes in the Timeline or the Effect Controls panel at the current time. Use the Toggle Animation button in the Effect Controls panel to activate the keyframing process. To create keyframes in a track or on a clip, it is not necessary to enable keyframe display.
Note: Note: To the top Do any of the following: To select a keyframe, use the Selection tool or the Pen tool to click the Keyframe icon in the Timeline panel. To select multiple keyframes, Shift -click with the Selection tool or the Pen tool to select multiple contiguous or noncontiguous keyframes in a Timeline panel.
Note: Note: Effect property’s value and velocity graphs A. Keyframe marker B. Level graph indicating unchanged value C. Rising graph indicating increasing value D. Falling graph indicating decreasing value E. Keyframe F. Value graph G. Velocity graph 1 .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Drag a keyframe or segment up or down to change the value. As you drag, a tool tip indicates the current value. If no keyframes are present, dragging adjusts the value for the entire clip or track.
Compositing 545.
Compositing, alpha channels, and adjustingclip opacity To the top Alpha channels and mattes About keying Specify clip opacity in a Timeline panel Compositing tips Adobe After Effects, another program in Adobe Creative Suite Production Premium, gives you a greatly expanded range of compositing tools.
To the top To the top Note: Alpha channels store transparency information in files in one of two ways: straight or premultiplied. Although the alpha channels are the same, the color channels differ. With straight (or unmatted ) channels, transparency information is stored only in the alpha channel, not in any of the visible color channels.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Select the Selection tool, and drag the opacity control rubber band up or down. Select the Pen tool, and drag the opacity control rubber band up or down.
Blending modes To the top Normal category Subtractive category Additive category Complex category Difference category Blend mode reference You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks.
HSL category Normal Dissolve Darken Multiply Color Burn Linear Burn Darker Color Linear Dodge (Add) Lighten Screen Color Dodge Linear Dodge (Add) Lighter Color Hue, Saturation, Color, Luminosity.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Overlay Soft Light Hard Light Vivid Light Linear Light Pin Light Hard Mix Difference Exclusion Subtract Divide Hue Sa.
Exporting 552.
Workflow and overview for exporting To the top Types of exporting Adobe Media Encoder Workflow for exporting video and audio files Community resources: FAQ: "How do I export a movie for YouTube, .
To the top To the top can trim Premiere Pro projects down to their essentials and ready them, with or without their source media, for archiving. Export formats for various devices and web sites Finall.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Click Queue. Adobe Media Encoder opens with the encoding job added to its queue. Click Export. Adobe Media Encoder renders and exports the item immediately.
Exporting to DVD or Blu -ray Disc To the top To the top Note: Choosing file formats for various discs Send a sequence to Encore to create a DVD, Blu - ray Disc, or SWF You can export sequences or portions of sequences in files formatted for authoring and burning to DVD and Blu - ray Disc.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: The sets of options available in the Settings area and on the Advanced tab depend on whether Blu - ray or DVD is the authoring mode.
Smart rendering Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible.
Working with Adobe SpeedGrade To the top To the top Note: Enhanced in Premiere Pro CC Direct- Link workflow between Premiere Pro and SpeedGrade Roundtrip workflow between Premiere Pro and SpeedGrade V.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: For more information on the editing and grading workflow between SpeedGrade and Premiere Pro, see this article . Important notes Send to SpeedGrade exports a SpeedGrade project file (.
Working with Adobe Prelude Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top You can use Adobe® Prelude™ to ingest clips, transcode footage, create subclips markers and rough cuts, and then import that data into Adobe® Premiere® Pro.
Export a still image Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: For a video demonstrating the export of a frame, see the Adobe website .
Formats exported directly from Premiere Pro javax.jcr.AccessDeniedException: /content/help/en/premiere - pro/using/formats-exported -directly -premiere -pro/jcr:content/jcr:title: not allowed to add or modify item Twitter™ and Facebook posts are not covered under the terms of Creative Commons.
Export to Panasonic P2 format Note: When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Adobe Media Encoder adds the sequence or clip to the CONTENTS folder of the disk or P2 card. Adobe Media Encoder adds the video MXF file to the VIDEO folder, and the audio MXF file to the AUDIO folder.
Exporting for the Web and mobile devices To the top To the top Moving assets between Adobe Premiere Pro and Adobe Flash Tips for creating FLV and F4V files Tips for creating video for mobile devices You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices.
Note: Modem NTSC 4 x 3 Modem PAL 4 x 3 T1/DSL/Cable NTSC 4 x 3 T1/DSL/Cable PAL 4 x 3 When you deliver video over the Internet, produce files at lower data rates. Users with fast Internet connections can view the files with little or no delay for loading, but dial - up users must wait for files to download.
To the top Note: Note: televisions. Even with a small window, image quality can be as important for digital video as for HDTV. Artifacts and noise are at least as obvious on a computer screen as on a television screen. FLV files, F4V files, and SWF files are intended for progressive display on computer screens and other devices.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy For more tips and techniques for creating content for mobile phones and devices, see www.
Exporting to videotape Note: To the top DV 29.97i (720 x 480) DV 25i (720 x 576) Prepare for exporting to DV videotape Export a sequence to tape with device control Export a sequence to tape without device control You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape.
DV 23.976i To the top Note: Abort After Dropped Frames Report Dropped Frames Render Audio Before Export Specifies DV 24p (24 progressive) or 24pA (24 progressive advanced), which uses a timebase of 23.976 and interlaced fields (that become progressively scanned frames using a pulldown scheme).
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top Note: 6 . Click Record, or, for HDV devices click Render And Record. If exporting to an HDV device, a rendering dialog box will open with a progress bar showing the progress of the transcode to HDV.
Exporting projects for other applications To the top Note: To the top Export a project as an EDL file Exporting AAF files Export a Final Cut Pro project XML file Export a project as an EDL file You can export a data file that describes the project and enables you to recreate it either with related media or by using another editing system.
Note: Cuts -only mono/stereo audio and video Clip speed Batch captured or redigitized files Footage of varying dimensions Nested sequences Titles Bin hierarchy been tested with other AAF importers. Transitions should appear only between two clips, not adjacent to the beginning or end of a clip.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Graphic files Project elements Sequence and clip markers Note: Current -time in.
Exporting OMF files for Pro Tools Note: To the top Encapsulate Separate Audio Copy Complete Audio Files Trim Audio Files To the top Export an OMF file for Pro Tools Features supported in OMF files Tip.
Note: Sample accurate exports 48k and 96k sample rates 16 -bit and 24 - bit depth Encapsulate and Separate Audio options Track names Clip names Clip volume and clip keyframe volume Audio Transitions Audio Mixer pan settings Stereo tracks Stereo Balance Channel Gain effects for 5.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy In the DigiTranslator dialog box: Deselect Pan Odd Tracks Left/Even Tracks Right. For automatic gain control, select Convert Clip Based Gain To Automation.
An important point after buying a device Adobe Premiere Pro CC (or even before the purchase) is to read its user manual. We should do this for several simple reasons:
If you have not bought Adobe Premiere Pro CC yet, this is a good time to familiarize yourself with the basic data on the product. First of all view first pages of the manual, you can find above. You should find there the most important technical data Adobe Premiere Pro CC - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Adobe Premiere Pro CC you will learn all the available features of the product, as well as information on its operation. The information that you get Adobe Premiere Pro CC will certainly help you make a decision on the purchase.
If you already are a holder of Adobe Premiere Pro CC, but have not read the manual yet, you should do it for the reasons described above. You will learn then if you properly used the available features, and whether you have not made any mistakes, which can shorten the lifetime Adobe Premiere Pro CC.
However, one of the most important roles played by the user manual is to help in solving problems with Adobe Premiere Pro CC. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Adobe Premiere Pro CC along with tips on how to solve them. Even if you fail to solve the problem, the manual will show you a further procedure – contact to the customer service center or the nearest service center
