Instruction/ maintenance manual of the product Premiere Pro CS3 Adobe
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USER GUIDE A DOBE ® P REMIERE ® PR O C S 3 April 1, 2008.
Copyright © 2007 Adobe Systems Incorporated. All rights reserved. Adobe ® Premiere ® Pro CS3 User Guide for Windows ® and Mac OS If this guide is distributed with software that includes an end use.
iii Contents Chapter 1: Getting started Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 About Adobe Help . . . . . . . . . . .
iv Chapter 7: Editing: Beyond the basics Using markers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Editing audio in the Timeline panel . . . . .
v Chapter 12: Animation Keyframing effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 Activating and selecting keyframes . . . . . . . . . . . . . . .
vi Adobe Media Encoder basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 Export settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 Chapter 1: Getting started If you haven’t installed your new software, begin by reading some information on installation and other prelimi- naries. Before you begin working with your software, take a few moments to read an overview of Adobe Help and of the many resources available to users.
ADOBE PREMIERE PRO CS3 User Guide 2 Read Me The installation disc contains the Read Me file for your software. (This file is also copied to the application folder during product installation.
ADOBE PREMIERE PRO CS3 User Guide 3 Most versions of in-product and LiveDocs Help let you search across the Help systems of multiple products. Topics may also contain links to relevant content on the web or to topics in the Help of another product.
ADOBE PREMIERE PRO CS3 User Guide 4 Adobe Help A. Back/Forward buttons (previously visited links) B. Expandable subtopics C. Icons indicating shared topic D.
ADOBE PREMIERE PRO CS3 User Guide 5 Keyboard shortcuts for Help navigation (Windows) • To move between panes, press Ctrl+Tab (forward) and Shift+Ctrl+Tab (backward). • To move through and outline links in a pane, press Tab (forward) or Shift+Tab (backward).
ADOBE PREMIERE PRO CS3 User Guide 6 When you start the Adobe Video Workshop, you choose the products you want to learn and the subjects you want to view.
ADOBE PREMIERE PRO CS3 User Guide 7 • Exporting video and FLV files Videos also show you how to use Adobe Premiere Pro CS3 with other Adobe products: • Using Dynamic Link • Creating video for mo.
ADOBE PREMIERE PRO CS3 User Guide 8 • Using Adobe Bridge in a web design workflow To access Adobe Creative Suite 3 video tutorials, visit Adobe Video Workshop at www.
ADOBE PREMIERE PRO CS3 User Guide 9 Downloads Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software. In addition, the Adobe Store (at www.
ADOBE PREMIERE PRO CS3 User Guide 10 represents a best-use example of product features. Templates can be a valuable resource when you need to jump-start a project. Samples Sample files include more complicated designs and are a great way to see new features in action.
ADOBE PREMIERE PRO CS3 User Guide 11 At Adobe Labs, you have access to resources such as these: • Prerelease software and technologies • Code samples and best practices to accelerate your learning.
ADOBE PREMIERE PRO CS3 User Guide 12 Smart File Search Find files faster with search tools that instantly update their results lists as you type. Sort and organize assets into multiple project panels, each with its own graphical or text view setting. Manage your project and its assets with greater ease and efficiency.
13 Chapter 2: Workspace The consistency among all Adobe video and audio workspaces supports cross-application familiarity. This design allows users to move projects through the application best for any task in the workflow. Customizing the workspace About workspaces Adobe video and audio applications provide a consistent, customizable workspace.
ADOBE PREMIERE PRO CS3 User Guide 14 Choose a workspace Each Adobe video and audio application includes several predefined workspaces that optimize the layout of panels for specific tasks. When you choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly.
ADOBE PREMIERE PRO CS3 User Guide 15 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.
ADOBE PREMIERE PRO CS3 User Guide 16 The application docks or groups the panel, according to the type of drop zone. Undock a panel in a floating window When you undock a panel in a floating window, you can add panels to the window or otherwise modify it, as you do the application window.
ADOBE PREMIERE PRO CS3 User Guide 17 Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups O pen and close panels and windows Even if a panel is open, it may be out of sight, beneath other panels.
ADOBE PREMIERE PRO CS3 User Guide 18 Save a custom workspace As you customize a workspace, the application tracks your changes, storing the most recent layout. To store a specific layout more permanently, save a custom workspace. Saved custom workspaces appear in the Workspace menu, where you can return to and reset them.
ADOBE PREMIERE PRO CS3 User Guide 19 Toolbox A. Selection tool B. Track Selection tool C. Ripple Edit tool D. Rolling Edit tool E. Rate Stretch tool F. Razor tool G. Slip tool H. Slide tool I. Pen tool J. Hand tool K. Zoom tool Select any tool to activate it for use in a Timeline panel by clicking it or pressing its keyboard shortcut.
ADOBE PREMIERE PRO CS3 User Guide 20 Clip details in the Info panel The Info panel displays information about a selected item. For clips, the Info panel displays duration, In point, Out point, and more. The information displayed may vary depending on the media type, the current window, and so on.
21 Chapter 3: Projects A project stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each special effect.
ADOBE PREMIERE PRO CS3 User Guide 22 The project settings must be correct when you create the project file. Once a project is created, some project settings, such as the timebase settings, are locked. This prevents unwanted inconsistencies that could result from changing project settings later.
ADOBE PREMIERE PRO CS3 User Guide 23 O ffline Replaces a missing file with an offline file , a placeholder that preserves all references to the missing file everywhere in the project.
ADOBE PREMIERE PRO CS3 User Guide 24 See also “ Preview on a television monitor ” on page 143 Create a custom preset To customize most project settings, you must start a new project, select an existing preset, and change its settings. 1 Click New Project or choose File > New > Project.
ADOBE PREMIERE PRO CS3 User Guide 25 of whether you shot progressive scan footage. (See “ Interlaced video, noninterlaced video, and progressive scanning ” on page 125) Display Format (Video) Adobe Premiere Pro can display any of several formats of timecode.
ADOBE PREMIERE PRO CS3 User Guide 26 • Feet + Frames 35mm Reports time in feet and frames, assuming the frame rate of 35mm film: 16 frames per foot. Use for output to 35mm film. Feet + frames 35mm timecode showing “15” as highest possible number of frames before next foot • Frames Reports time solely in a running count of frames.
ADOBE PREMIERE PRO CS3 User Guide 27 changed. The Uncompressed 10-bit (4:2:2 YUV) and Uncompressed 8-bit (4:2:2 YUV) file formats match the speci- fications for SD-SDI and HD_SDI video respectively. Select one of them if you intend to monitor or output to one of these formats.
ADOBE PREMIERE PRO CS3 User Guide 28 6 From the File Format drop-down menu, select Uncompressed 10-Bit (4:2:2 YUV), or Uncompressed 8-Bit (4:2:2 YUV). 7 Enter a name for the project and click OK.
ADOBE PREMIERE PRO CS3 User Guide 29 A 4:3 frame aspect ratio (left), and wider 16:9 frame aspect ratio (right) When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you must decide how to reconcile the different values.
ADOBE PREMIERE PRO CS3 User Guide 30 Pixel aspect ratio Pixel aspect ratio describes the ratio of width to height of a single pixel in a frame. Pixel aspect ratios vary because different video systems make various assumptions about the number of pixels required to fill a frame.
ADOBE PREMIERE PRO CS3 User Guide 31 About square-pixel footage Many graphics and animation programs generate square-pixel assets meant for display on square-pixel computer monitors. Adobe Premiere Pro, however, typically generates files with non-square pixels for display on television sets.
ADOBE PREMIERE PRO CS3 User Guide 32 When you capture or import NTSC footage with the ATSC frame size of 704x480, the D1 frame size of 720x486, or the DV frame size of 720x480, Adobe Premiere Pro automatically sets the pixel aspect ratio for that asset to D1/DV NTSC (0.
ADOBE PREMIERE PRO CS3 User Guide 33 Special projects About 24p footage and projects Footage acquired from a camcorder or by film transfer, at roughly 24 non-interlaced (progressive) fps is called 24p footage .
ADOBE PREMIERE PRO CS3 User Guide 34 When you apply 3:2 pulldown to footage, one frame of the film (A) is separated into two or three interlaced video fields (B) wh ich are grouped into video frames containing two fields each.
ADOBE PREMIERE PRO CS3 User Guide 35 Disable 24p pulldown to simulate film-video transfer By default, Adobe Premiere Pro uses a 24p pulldown scheme to playback 24p DV footage at 29.
ADOBE PREMIERE PRO CS3 User Guide 36 4 (Optional) Select the Custom Settings tab, and customize the preset as needed. 5 (Optional) For DVCPRO50 P2 or DVCPROHD P2 projects, to set the number of monaural channels that you can output to P2, select Default Sequence.
ADOBE PREMIERE PRO CS3 User Guide 37 Start a mobile device project You can edit video for delivery to mobile phones, portable media players, and other portable devices. Selecting a project preset that matches the requirements of the target device is the easiest way to get started.
ADOBE PREMIERE PRO CS3 User Guide 38 Adobe OnLocation 2. Start or open a project Open an existing project, or start a new one from the Adobe Premiere Pro Quickstart screen. When starting a new project, you can specify the television standard, video format, and other settings for your project.
ADOBE PREMIERE PRO CS3 User Guide 39 Project panel and Capture panel You can also import a variety of digital media, including video, audio, and still images. Adobe Premiere Pro also imports Adobe Illustrator® artwork or Photoshop layered files, and it translates After Effects projects for a seamless, integrated workflow.
ADOBE PREMIERE PRO CS3 User Guide 40 Source Monitor, Program Monitor, and Timeline panel You add clips to a sequence in the Timeline panel by dragging or by using controls in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel.
ADOBE PREMIERE PRO CS3 User Guide 41 Titler 6. Add transitions and effects The Effects panel includes an extensive list of transitions and effects you can apply to clips in a sequence. You can adjust these effects, as well as a clip’s motion, opacity, and Variable Rate Stretch using the Effect Controls panel.
ADOBE PREMIERE PRO CS3 User Guide 42 7. Mix audio For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects. Adobe Premiere Pro saves your adjustments in real time, on the fly.
ADOBE PREMIERE PRO CS3 User Guide 43 9. Export Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file. Using the Adobe Media Encoder, you can customize the settings for MPEG2, MPEG4, Adobe Flash Video, and other codecs, to the needs of your viewing audience.
ADOBE PREMIERE PRO CS3 User Guide 44 2. Export to Encore or to an MPEG-2 file. The File > Export > Export To Encore command brings your sequence, or any portion of it you designate with the work area bar, into Encore. From Encore, you can burn it directly to a DVD without menus, or add menus and buttons before burning.
ADOBE PREMIERE PRO CS3 User Guide 45 Preview files Preview files made on one platform are not available on the other. When a project is opened on a different platform, Adobe Premiere Pro re-renders the preview files. When that project is then opened on its original platform, Adobe Premiere Pro must render the preview files yet again.
ADOBE PREMIERE PRO CS3 User Guide 46 • Perform automated tasks, such as batch commands. • Manage photos: Generate a web gallery from a group of images, import and edit photos from a digital camera card, group related photos in stacks, and open or import camera raw files and edit their settings without starting Photoshop.
47 Chapter 4: Setting up, and bringing in assets With your hardware hooked up, you can bring assets into a project by capturing them from digital sources, digitizing them from analog sources, or importing them as computer files.
ADOBE PREMIERE PRO CS3 User Guide 48 5 Start Adobe Premiere Pro, and, on the Welcome screen, click New Project. 6 In the Load Preset panel of the New Project dialog box, select the DV or HDV preset that matches the format of your source footage. 7 Browse to a location, and type a name for the project file.
ADOBE PREMIERE PRO CS3 User Guide 49 3 Do one of the following: • Connect the serial device control port (RS-422 or RS-232) on the camcorder or VTR with the serial port (Windows) or USB port (Mac OS) on the computer. Use the Pipeline Digital ProVTR cable for RS-232/422- controlled devices.
ADOBE PREMIERE PRO CS3 User Guide 50 To convert the analog source signal to a digital one the computer can use, this setup requires an analog/digital (A/D) converter, or digitizer, either installed in the computer or attached to it, or a digital camcorder or VTR capable of digitizing an incoming analog signal.
ADOBE PREMIERE PRO CS3 User Guide 51 Video Previews Files created when you use the Sequence > Render Work Area command, export to a movie file, or export to a device. If the previewed area includes effects, the effects are rendered at full quality in the preview file.
ADOBE PREMIERE PRO CS3 User Guide 52 O ptimize rendering for available memory By default, Adobe Premiere Pro renders video using the maximum number of available processors, up to 16.
ADOBE PREMIERE PRO CS3 User Guide 53 Capturing and digitizing System requirements for capturing To capture digital video footage, your editing system needs the following components: • For DV or HDV footage, either an OHCI-compliant IEEE 1394 (FireWire, i.
ADOBE PREMIERE PRO CS3 User Guide 54 “ Export a movie file for further editing ” on page 386 “ Export a sequence to tape with device control ” on page 405 Capturing HD video You can capture au.
ADOBE PREMIERE PRO CS3 User Guide 55 About capture card settings Some of the capture settings you see in Adobe Premiere Pro may be from the plug-in software that came with your digitizer/capture card. Because of the differences among brands of cards, specific options and supported formats can vary.
ADOBE PREMIERE PRO CS3 User Guide 56 • If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source. To help determine the effects of your compression settings on the data rate of the captured video, use the Adobe Premiere Pro Data Rate graph.
ADOBE PREMIERE PRO CS3 User Guide 57 You can control certain source devices, such as camcorders and decks, directly from the Capture panel, provided your computer has an Adobe Premiere Pro-compatible IEEE1394, RS-232, or RS-422 controller.
ADOBE PREMIERE PRO CS3 User Guide 58 The format of your hard disk greatly affects its ability to handle large files. FAT32 formatting limits each file to 4 GB, or about 18 minutes of DV footage.
ADOBE PREMIERE PRO CS3 User Guide 59 Note: To avoid confusion, make sure that the tape name is unique. Some types of device control software may ask you to specify the Tape Name setting each time you insert a new tape. The other Logging Data options aren’t required.
ADOBE PREMIERE PRO CS3 User Guide 60 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, and the shuttle control lets you change the speed of the tape as you play it forward or backward.
ADOBE PREMIERE PRO CS3 User Guide 61 Capture with device control After a device and the project are set up properly, you can begin capturing clips using device control. You can capture an entire tape or you can mark In and Out points for each clip, and then capture the clip.
ADOBE PREMIERE PRO CS3 User Guide 62 Note: If capturing HDV footage on Mac OS, you must preview on an external TV monitor or camcorder viewfinder while logging.
ADOBE PREMIERE PRO CS3 User Guide 63 Adobe Premiere Pro CS3 will capture a separate file for each scene it detects (Windows), or it will capture a master clip for the duration of the capture, with a subclip for each scene, placing all subclips into a new bin (Mac OS).
ADOBE PREMIERE PRO CS3 User Guide 64 When you want to batch capture a set of logged (offline) clips, select them in the Project panel and choose File > Batch Capture. If you organized offline clips into bins, you can batch capture an entire bin by selecting the bin.
ADOBE PREMIERE PRO CS3 User Guide 65 4 In the Setup area of the Logging pane, choose your media type from the Capture pop-up menu. 5 If you want to capture some frames extending beyond the In and Out points of each clip, enter the number of frames for these handles in the Handles setting of the Capture section.
ADOBE PREMIERE PRO CS3 User Guide 66 Tips for logging clips interactively • Set options on the Logging pane of the Capture panel. Adobe Premiere Pro uses the current data in the Setup and Clip Data sections as defaults for subsequent logged clips.
ADOBE PREMIERE PRO CS3 User Guide 67 • To find out or change the capture settings for an offline file, select the clip in the Project panel, and choose Clip > Capture Settings > Set Capture Settings. The Capture Format menu lets you view the clip’s capture format or choose a new one.
ADOBE PREMIERE PRO CS3 User Guide 68 To manage capture errors when the Capture Settings Error dialog box appears, do one of the following: • To fix the capture settings for any clips in the list, select one or more files in the list and click Edit Settings.
ADOBE PREMIERE PRO CS3 User Guide 69 Create an offline file 1 In the Project panel, click the New Item button at the bottom of the panel and choose Offline File from the menu. 2 For Contains, select an option as needed. 3 For Tape Name, type the name of the tape containing the source video for the offline clip.
ADOBE PREMIERE PRO CS3 User Guide 70 Timecode About timecode Many camcorders and high-end video decks record timecode , which marks specific frames with unique addresses.
ADOBE PREMIERE PRO CS3 User Guide 71 5 Before you record video on a striped tape, play about 30 seconds of it from the beginning. Verify that the camcorder is reading the timecode you striped before you start shooting. The 30-second empty lead on the tape also helps in batch capturing.
ADOBE PREMIERE PRO CS3 User Guide 72 Set timecode manually for a clip At times you may want to change the timecode from that recorded by Adobe Premiere Pro. For example, you captured footage from a DV copy of a Hi8 tape originally recorded with RCTC (Rewritable Consumer Time Code).
ADOBE PREMIERE PRO CS3 User Guide 73 View sequence timecode as a burn-in 1 At the bottom of the Project panel, click the New Item icon . Select Transparent Video. 2 Drag the transparent video clip to an empty track in the sequence higher than all other video tracks.
ADOBE PREMIERE PRO CS3 User Guide 74 7 After recapturing is complete, save the project. Importing files Import files You can import video, audio, and still files in a variety of file formats into an Adobe Premiere Pro project. You can import a single file, multiple files, or an entire folder.
ADOBE PREMIERE PRO CS3 User Guide 75 See also “ About Adobe Bridge ” on page 45 File formats supported for import Adobe Premiere Pro can import a number of video and audio formats. It also supports 10-bit color depth, sometimes useful for editing standard and high-definition footage.
ADOBE PREMIERE PRO CS3 User Guide 76 Supported still-image and sequence file formats Adobe Premiere Pro supports 8-bit per-channel (4 bytes per pixel) and 16-bit per-channel (8 bytes per pixel) still- image files. It converts images with lower bit-depths to 8-bits per channel and images with higher bit-depths to 16- bits per channel on import.
ADOBE PREMIERE PRO CS3 User Guide 77 Importing digital audio You can import digital audio clips stored as audio files or tracks in video files. Digital audio is stored on computer hard disks, audio CDs, or digital audio tape (DAT) as binary data readable by computers.
ADOBE PREMIERE PRO CS3 User Guide 78 Using compressed audio formats Music stored in formats such as MP3 and WMA are compressed using a method that removes some of the original audio quality. To play back compressed audio, Adobe Premiere Pro must decompress the file and may need to resample it to match your output settings.
ADOBE PREMIERE PRO CS3 User Guide 79 • Save the file using the correct naming convention. For example, if you plan to import the file into Adobe Premiere Pro on Windows, use a three-character filename extension.
ADOBE PREMIERE PRO CS3 User Guide 80 If you want to define the dimensions of the Illustrator art when it is rasterized, use Illustrator to set crop marks in the Illustrator file.
ADOBE PREMIERE PRO CS3 User Guide 81 • Use the pixel aspect ratio and frame size specified in the project settings in Adobe Premiere Pro. • Use the appropriate field settings to match your project.
ADOBE PREMIERE PRO CS3 User Guide 82 See also “ Copy between After Effects and Adobe Premiere Pro ” on page 164 “ About Dynamic Link (Production Premium only) ” on page 167 About Panasonic P2 media A P2 card is a solid-state memory device that plugs into the PCMCIA slot of a Panasonic P2 video camera, such as the AG-HVX200.
ADOBE PREMIERE PRO CS3 User Guide 83 4 Select one or more MXF files (for P2 or XDCAM HD), or MP4 files (for XDCAM EX). Do one of the following: • To import P2, XDCAM HD, or XDCAM EX video content and its associated audio content, select the respective files from the VIDEO (P2), or Clip (XDCAM HD, XDCAM EX) folder.
84 Chapter 5: Managing and viewing assets After you import assets into a project, you can use Adobe Premiere Pro to organize them, view their details, and find them quickly.
ADOBE PREMIERE PRO CS3 User Guide 85 • To hide or set the size of thumbnails, choose Thumbnails from the Project panel menu. • To remove empty space between items in Icon view and arrange them within the width of the Project panel, choose Clean Up from the Project panel menu.
ADOBE PREMIERE PRO CS3 User Guide 86 Note: In Adobe Premiere Pro, all durations in any panel include the frames specified by the In point and Out point. For example, setting the In point and Out point to the same frame results in a duration of one frame.
ADOBE PREMIERE PRO CS3 User Guide 87 O rganizing assets with the Project panel About bins The Project panel can include bins, which you can use to organize project contents in much the same way as folders in Windows Explorer or Mac OS Finder. Bins can contain source files, sequences, and other bins.
ADOBE PREMIERE PRO CS3 User Guide 88 • To show the contents of an enclosing (parent) bin when you’re viewing only the contents of a nested bin, click the Parent Bin button in the Project panel. You can continue to click this button until the top-level contents of the Project panel appear.
ADOBE PREMIERE PRO CS3 User Guide 89 • To set default labels for a media type, choose Edit > Preferences > Label Defaults (Windows) or Premiere Pro > Preferences > Label Defaults (Mac OS).
ADOBE PREMIERE PRO CS3 User Guide 90 You can also use the Properties feature to alert you to the presence of any dropped frames in a clip you just captured. Use the data rate graph to evaluate how well the output data rate matches the requirements of your delivery medium.
ADOBE PREMIERE PRO CS3 User Guide 91 The next time you open the project, Adobe Premiere Pro asks you to locate the file. Remove assets from a project You can remove assets you don’t need from the Project panel without removing them from your hard disk.
ADOBE PREMIERE PRO CS3 User Guide 92 Work with proxy files About proxy files [F8488 Proxy Editing] Create proxy files from the Project panel [F8488 Proxy Editing] Create proxy files from the Timeline .
ADOBE PREMIERE PRO CS3 User Guide 93 Source Monitor (left) and Program Monitor (right) Set display quality You can reduce the resolution of the Source or Program Monitors to decrease the processing demands on your computer.
ADOBE PREMIERE PRO CS3 User Guide 94 • Drag multiple clips or an entire bin from the Project panel into the Source Monitor, or select multiple clips in the Project panel and double-click them. Clips are added to the Source menu in the order in which they were selected, and the last clip selected appears in the Source Monitor.
ADOBE PREMIERE PRO CS3 User Guide 95 Current time displays Show the timecode for the current frame. The current time displays are located at the bottom left of each monitor’s video. The Source Monitor shows the current time for the open clip. The Program Monitor shows the sequence’s current time.
ADOBE PREMIERE PRO CS3 User Guide 96 Choose a display mode You can display normal video, the video’s alpha channel, or one of several measurement tools. ❖ In the Source or Program Monitor, click the Output button , or click the panel menu and choose a display mode setting: Composite Video Displays the normal video.
ADOBE PREMIERE PRO CS3 User Guide 97 Most playback controls have keyboard equivalents. When you want to use keyboard shortcuts to control playback, make sure that the monitor you want is active. Click the video image in the monitor you want to activate.
ADOBE PREMIERE PRO CS3 User Guide 98 Move to a different frame in the Source and Program Monitors ❖ 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.
ADOBE PREMIERE PRO CS3 User Guide 99 Reference Monitor Use a Reference Monitor A 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.
100 Chapter 6: Editing a sequence Once you have imported and captured assets for your project, you can begin the editing phase. Editing basics Editing workflow You create your project in Adobe Premiere Pro by assembling clips into a sequence. The workflow you choose depends on your preferences and the needs of your project.
ADOBE PREMIERE PRO CS3 User Guide 101 As you assemble and trim clips into a sequence, you can use the preset editing workspace to arrange Adobe Premiere Pro panels. Choose Window > Workspace > Editing. For more information, see the tutorial on trimming clips at http://www.
ADOBE PREMIERE PRO CS3 User Guide 102 Each sequence in a project can appear as a tab in a single Timeline panel, or in a separate Timeline panel. A sequence must contain at least one video track and one audio track. Multiple video tracks are used to superimpose clips.
ADOBE PREMIERE PRO CS3 User Guide 103 Work area bar Specifies the area of the sequence that you want to preview or export. The work area bar is located in the lower portion of the time ruler. Zoom controls Change the scale of the time ruler to increase or decrease the number of frames visible within the current viewing area.
ADOBE PREMIERE PRO CS3 User Guide 104 • To zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. Scroll through sequence ❖ With the Timeline panel active, press the Up Arrow key to move left and the Down Arrow key to move right.
ADOBE PREMIERE PRO CS3 User Guide 105 Lock and unlock tracks Locking an entire track is useful for preventing changes to any clips on that track while you work on other parts of the sequence. In the Timeline panel, a pattern of slashes appears over a locked track.
ADOBE PREMIERE PRO CS3 User Guide 106 Set the display style of the video track 1 Expand the track by clicking the triangle next to the track name. 2 Click the Set Display Style button at the left corn.
ADOBE PREMIERE PRO CS3 User Guide 107 To fine-tune trim edits in a sequence, you can open the Trim Monitor. The Trim Monitor’s layout is similar to the Source and Program Monitors, but the Trim Monitor controls are optimized for precisely adjusting a cut point between clips in a sequence.
ADOBE PREMIERE PRO CS3 User Guide 108 Viewing In and Out frames simultaneously in the Source Monitor Cue to an In or O ut 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.
ADOBE PREMIERE PRO CS3 User Guide 109 Trimming a clip Trimming in this way affects only a single clip edge and doesn’t affect adjacent clips. To trim multiple edges at once or to shift adjacent clips, see “ Perform rolling and ripple edits ” on page 111 and “ Perform slip and slide edits ” on page 113.
ADOBE PREMIERE PRO CS3 User Guide 110 About rolling and ripple edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as rolling edits and ripple edits . By using specialized tools, you can make adjustments in a single action that would otherwise require multiple steps to accomplish.
ADOBE PREMIERE PRO CS3 User Guide 111 In this ripple edit, the edit point is dragged earlier in time—shortening the preceding clip and the total program duration. Perform rolling and ripple edits You can perform a rolling or ripple edit either directly on the tracks in the Timeline panel or using the Trim Monitor.
ADOBE PREMIERE PRO CS3 User Guide 112 • Select the boxed number above the center jog disk, type a negative number to trim both clips left or type a positive number to trim both clips right, and press Enter (Windows) or Return (Mac OS). • Click the button that corresponds with the number of frames you want to edit.
ADOBE PREMIERE PRO CS3 User Guide 113 • Click the Out Shift display (for the left clip’s Out point) or the In Shift display (for the right clip’s In point), type a negative number (to trim left) or a positive number (to trim right), and press Enter (Windows) or Return (Mac OS).
ADOBE PREMIERE PRO CS3 User Guide 114 Perform a slide edit A slide edit shifts a clip in time while trimming adjacent clips to compensate for the move. As you drag a clip left or right with the Slide tool, the Out point of the preceding clip and the In point of the following clip are trimmed by the number of frames you move the clip.
ADOBE PREMIERE PRO CS3 User Guide 115 Set trim preferences You can set the number of frames that will be trimmed when you use the Multiple-Frame Trim-in button or the Multiple-Frame Trim-out button . ❖ Choose Edit > Preferences > Trim (Windows) or Premiere Pro > Preferences > Trim (Mac OS).
ADOBE PREMIERE PRO CS3 User Guide 116 Adding a clip by inserting it between clips An insert edit shifts clips in all unlocked tracks. To prevent an insert edit from shifting clips in another track, lock the track. See also “ Targeting tracks ” on page 116 Targeting tracks A sequence may contain several video and audio tracks.
ADOBE PREMIERE PRO CS3 User Guide 117 Targeting a track by clicking the track If you overlay a clip, only the targeted track is affected, whether you drag the clip or use a Source Monitor’s Overlay button. If you insert a clip, the clip goes into the targeted track, and clips in any unlocked tracks shift to accommodate the insertion.
ADOBE PREMIERE PRO CS3 User Guide 118 4 Do one of the following: • To perform an overlay edit, drag the clip from the Source Monitor to an appropriate track in the Timeline panel at the point you want the clip to start. The destination area is highlighted, and the pointer appears with the Overlay icon .
ADOBE PREMIERE PRO CS3 User Guide 119 Method Specifies the type of edit to perform. Choose Insert Edit to add clips to the sequence starting at the sequence’s current time using insert edits, which shift existing clips forward in time to accommodate the new material.
ADOBE PREMIERE PRO CS3 User Guide 120 See also “ Work with tracks ” on page 104 Replace one clip with another You can replace one clip in the Timeline with another from the Source Monitor or a bin, retaining any effects that were applied to the original clip in the Timeline.
ADOBE PREMIERE PRO CS3 User Guide 121 4 Do one of the following: • To perform an insert edit, click the Insert button . • To perform an insert edit and shift clips in target tracks only, Alt-click (Windows) or Option-click (Mac OS) the Insert button .
ADOBE PREMIERE PRO CS3 User Guide 122 Note: Sequence In and Out points are automatically removed when you perform a lift or extract edit from the Program Monitor. Set sequence In and O ut points 1 Navigate to the In point in the Timeline panel and click the Set In Point button in the Program Monitor.
ADOBE PREMIERE PRO CS3 User Guide 123 • To undo changes made before the last time you saved a project, try opening a previous version of your project in the Premiere Auto-Save folder, and then choose File > Save As to store the project in a location outside of the Premiere Auto-Save folder.
ADOBE PREMIERE PRO CS3 User Guide 124 Remove alerts with the Events panel Adobe Premiere Pro Events lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug-ins and other components from third-party devel- opers.
ADOBE PREMIERE PRO CS3 User Guide 125 Interlaced video, noninterlaced video, and progressive scanning Interlacing is a technique developed for transmitting standard-resolution television signals using limited bandwidth. In an interlaced system, only half the number of horizontal lines for each frame of video are transmitted at a time.
ADOBE PREMIERE PRO CS3 User Guide 126 Another unwanted interlacing effect can arise from a mismatch between a clip’s field dominance , and that of the project, for example from a clip with upper field dominance being used in a project using lower field dominance.
ADOBE PREMIERE PRO CS3 User Guide 127 2 In either the Project panel or Timeline panel, select the clips for which you want to know the total duration. The Info panel displays the number of items selected and the total duration of those items.
ADOBE PREMIERE PRO CS3 User Guide 128 You can also set a clip’s speed to fill a duration by performing a four-point edit. In the Timeline panel, clips with speed changes are indicated as a percentage of the original speed. Change a whole clip’s speed or direction You can change the speed, direction, or both for a clip as a whole.
ADOBE PREMIERE PRO CS3 User Guide 129 Blend frames for smooth motion Motion in a clip may appear jerky when you change the speed of a clip, or output to a different frame rate. Make sure that frame blending is on to create new interpolated frames that smooth the motion.
ADOBE PREMIERE PRO CS3 User Guide 130 Time-remapping distorts time for range of frames within clip. Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immedi- ately by other clips. Slowing any portion of a clip will make the duration of that clip longer.
ADOBE PREMIERE PRO CS3 User Guide 131 3 Do one of the following: • Drag the rubberband on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion. (Optional) Press Shift while dragging to limit the speed change values to 5% increments.
ADOBE PREMIERE PRO CS3 User Guide 132 Move a split speed keyframe ❖ In the white control track area of the clip, drag the grey-shaded area of the speed transition into its new position. Play a clip backward, then forward 1 In the Timeline panel, click on the Clip Effect menu and choose Time Remapping > Speed.
ADOBE PREMIERE PRO CS3 User Guide 133 Blue curve control in gray area between the halves of a speed keyframe 5 (Optional) To change the acceleration or deceleration of any part of the directional change, drag either of the handles on the curve control.
ADOBE PREMIERE PRO CS3 User Guide 134 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.
ADOBE PREMIERE PRO CS3 User Guide 135 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. 3 Choose Clip > Video Options > Frame Hold. 4 Select Hold On, and select the frame you want to hold from the menu.
ADOBE PREMIERE PRO CS3 User Guide 136 3 Click the desired location. The desired sequence will move forward and the current-time indicator will jump to the location of the clip. View the source of a clip in a sequence ❖ Right-click (Windows) or Ctrl-click (Mac OS) a clip in a sequence, and choose Reveal In Project.
ADOBE PREMIERE PRO CS3 User Guide 137 Enable or disable a clip You can disable a clip while you try out a different editing idea, or to shorten processing time when working on a complex projects. Disabled clips do not appear in the Program Monitor or in a preview or video file that you export.
ADOBE PREMIERE PRO CS3 User Guide 138 Snap a clip 1 Make sure that the Snap button is selected in the Timeline panel. 2 Drag the edge of a clip close to the edge of another clip or a marker or the current-time indicator. A vertical line appears when alignment occurs.
ADOBE PREMIERE PRO CS3 User Guide 139 Note: To affect only one track of a linked clip, press Alt (Windows) or Option (Mac OS) when you first click the clip. You do not need to hold the Alt (Windows) or Option (Mac OS) key after you initiate the edit. The video and audio will lose sync.
ADOBE PREMIERE PRO CS3 User Guide 140 Lift frames Lifting removes frames from a sequence and leaves a gap of the same duration as the frames you remove. ❖ Do one of the following: • To remove entire clips, select one or more clips in the sequence and press the Delete key.
ADOBE PREMIERE PRO CS3 User Guide 141 4 Do one of the following: • To overlay the pasted clips, choose Edit > Paste. • To insert the pasted clips, choose Edit > Paste Insert. See also “ Copy and paste attributes ” on page 137 Delete all clips on one track 1 Select the Track Select tool .
ADOBE PREMIERE PRO CS3 User Guide 142 Set the area to be previewed ❖ Do any of the following: • Drag the work area bar over the section you want to preview. Make sure that you drag the work area bar from its textured center; otherwise you cue the current-time indicator instead.
ADOBE PREMIERE PRO CS3 User Guide 143 The rendering time depends on your system’s resources and the complexity of the segment. Play a sequence from start to finish ❖ In the Program Monitor, click the Play In To Out button.
ADOBE PREMIERE PRO CS3 User Guide 144 Preview on a television monitor via DV camcorder or deck If you’re editing a DV project, you can preview the sequence on a television monitor via your IEEE 1394 connection and DV camcorder or video deck. Note: On Mac OS, you will not be able to preview on a TV monitor via camcorders or decks in HDV mode.
ADOBE PREMIERE PRO CS3 User Guide 145 Work with preview files When you render previews, Adobe Premiere Pro creates files on your hard disk. These preview files contain the results of any effects that Adobe Premiere Pro processed during a preview.
146 Chapter 7: Editing: Beyond the basics Adobe Premiere Pro contains many tools for improving clips and refining edits. You can use them to add polish and sophistication to your projects. Using markers Add markers Markers indicate important points in time and help you position and arrange clips.
ADOBE PREMIERE PRO CS3 User Guide 147 Add an unnumbered clip marker 1 Do one of the following: • To add a marker to a source clip, double-click the clip in the Project panel to open it in the Source Monitor. • To add a marker to a clip in a sequence, double-click the clip to open it in the Source Monitor.
ADOBE PREMIERE PRO CS3 User Guide 148 Move a marker ❖ Do one of the following: • To move a clip marker in a clip that’s in a sequence, open the clip in the Source Monitor and drag the Marker icon in the Source Monitor’s time ruler. (You can’t manipulate clip markers in the Timeline panel directly.
ADOBE PREMIERE PRO CS3 User Guide 149 Frame Target Enter the target frame for a web page if using an HTML frameset. 3 To enter comments or specify options for other sequence markers, click Prev or Next. Note: DVD authoring programs such as Encore adhere to DVD guidelines that restrict the proximity of chapter links.
ADOBE PREMIERE PRO CS3 User Guide 150 Editing audio in the Timeline panel Set sample-based audio In and O ut points In and Out points are set at timebase divisions—that is, between video frames. Although frame-based edits are usually adequate for audio as well, some audio edits require greater precision.
ADOBE PREMIERE PRO CS3 User Guide 151 3 View the audio In point or Out point of the clip you want to edit in detail by dragging the zoom slider to the right.
ADOBE PREMIERE PRO CS3 User Guide 152 Automatically synchronize clips that were moved out of sync 1 Right-click/Control-click the number that appears at the In point in the Timeline panel of the out-of-sync video or audio clip. (The number indicates the amount of time the clip is out of sync with its accompanying video or audio clip.
ADOBE PREMIERE PRO CS3 User Guide 153 Creating special clips Create a counting leader (Windows only) If you plan to create film output from a sequence, you may want to add a counting leader. A counting leader helps a projectionist verify that audio and video are working properly and are synchronized.
ADOBE PREMIERE PRO CS3 User Guide 154 Create a transparent video clip Transparent Video is a synthetic clip just like Black Video, Bars and Tone, and Color Matte. It comes in handy when you want to apply an effect that generates its own image and preserves transparency, such as the Timecode effect or the Lightning effect.
ADOBE PREMIERE PRO CS3 User Guide 155 Video Type the number of video tracks you want the sequence to contain, or click the up and down arrows to change the number. Master Choose an option from the pop-up menu to specify whether you want the Master audio track to be mono, stereo, or 5.
ADOBE PREMIERE PRO CS3 User Guide 156 N est a sequence in another sequence ❖ Drag a sequence from the Project panel or Source Monitor into the appropriate track or tracks of the active sequence, or use any of the editing methods for adding a clip. Note: You will not have to render audio before editing a nested sequence.
ADOBE PREMIERE PRO CS3 User Guide 157 Create a subclip You can create a subclip from source clips or other subclips that are made up of a single media file. You cannot create subclips from sequences, titles, or stills. 1 Open a source clip in the Source Monitor.
ADOBE PREMIERE PRO CS3 User Guide 158 1. Add clips from multiple cameras to a sequence. Stack the clips from each camera on separate tracks of a sequence. (See “ Add clips for multi-camera editing ” on page 159.) 2. Synchronize the clips in the sequence.
ADOBE PREMIERE PRO CS3 User Guide 159 Multi-Camera Monitor A. Camera 1 B. Camera 2 C. Recorded sequence preview D. Camera 3 E. Camera 4 F. Record button Display the Multi-Camera Monitor ❖ Select the multi-camera target sequence in the Timeline panel, and then choose Multi-Camera Monitor from the Window menu.
ADOBE PREMIERE PRO CS3 User Guide 160 Note: Adobe Premiere Pro uses an overlay edit when synchronizing clips. Take care not to overwrite adjacent clips if you have multiple clips on the same track. 1 Select the clips you want to synchronize. 2 Target a track (by clicking its track header) to align the other clips to it.
ADOBE PREMIERE PRO CS3 User Guide 161 5 To switch to another camera and record its content, click its small preview in the Multi-Camera Monitor. You can switch cameras using a keyboard shortcut. The 1, 2, 3, and 4 keys correspond to each camera. 6 When you are done recording, click the Stop button or the Record button to get out of recording mode.
ADOBE PREMIERE PRO CS3 User Guide 162 Insert or overlay clips in a multi-camera sequence You can make edits to a multi-camera sequence from the original four camera clips. For example, if one camera recorded a presenter and another recorded a screen of presentation slides, you can intersperse shots of the presen- tation slides.
ADOBE PREMIERE PRO CS3 User Guide 163 Comparative advantages for specific tasks The strengths of Adobe Premiere Pro lie in its numerous video editing features. You can use it to combine Photoshop files with video clips, audio clips and other assets, using the Photoshop files, for example, as titles, graphics, and masks.
ADOBE PREMIERE PRO CS3 User Guide 164 Create and edit Photoshop files You can create a Photoshop file that will automatically inherit the pixel and frame aspect ratio settings of your Adobe Premiere Pro project. You can also edit any image file in an Adobe Premiere Pro project in Photoshop.
ADOBE PREMIERE PRO CS3 User Guide 165 You can also copy nested compositions, Photoshop layers, solid layers, and audio layers. Adobe Premiere Pro converts nested compositions to nested sequences, and solid layers to color mattes. You cannot copy shape, camera, light, or adjustment layers to Adobe Premiere Pro.
ADOBE PREMIERE PRO CS3 User Guide 166 You can copy color mattes, stills, nested sequences, and offline files as well. After Effects converts color mattes into solid layers and converts nested sequences into nested compositions. When you copy a Photoshop still image into After Effects, After Effects retains the Photoshop layer information.
ADOBE PREMIERE PRO CS3 User Guide 167 Working with Adobe Premiere Pro and Adobe Flash Adobe Premiere Pro is a professional tool for editing video. If you use Adobe Flash to design interactive content for websites or mobile devices, you can use Adobe Premiere Pro to edit the movies for those projects.
ADOBE PREMIERE PRO CS3 User Guide 168 Adobe Dynamic Link, a feature of Adobe Creative Suite Production Premium, offers an alternative to this workflow: the ability to create dynamic links, without rendering, between new or existing compositions in Adobe After Effects and either Adobe Premiere Pro or Adobe Encore.
ADOBE PREMIERE PRO CS3 User Guide 169 Color and Dynamic Link (Production Premium only) Adobe After Effects works in the RGB (red, green, blue) color space.
ADOBE PREMIERE PRO CS3 User Guide 170 Dynamically linked After Effects compositions Delete a dynamically linked composition or clip (Production Premium only) You can delete a linked composition from an Encore project if the composition isn’t used in the project.
ADOBE PREMIERE PRO CS3 User Guide 171 Take a dynamically linked composition offline (Production Premium only) You can take a dynamically linked composition offline if system resources are low, prevent.
172 Chapter 8: Transitions The transitions included with Adobe Premiere Pro provide a variety of ways to replace one clip with another in video or audio tracks. Transition overview About transitions A transition moves a scene from one shot to the next.
ADOBE PREMIERE PRO CS3 User Guide 173 You can add several clips to a sequence at once, and automatically add a default transition between them. (See “ Add clips to a sequence automatically ” on page 118.) 2. Change transition options. Click the transition in the Timeline panel to display its properties in the Effect Controls panel.
ADOBE PREMIERE PRO CS3 User Guide 174 For best results with transitions, shoot and capture source media with sufficient handles beyond the In and Out points of the actual clip duration you want to use.
ADOBE PREMIERE PRO CS3 User Guide 175 Adding transitions Adding a transition 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 the Timeline panel, you can adjust the alignment interactively.
ADOBE PREMIERE PRO CS3 User Guide 176 If you use another transition more frequently, you can set it as the default. When you change the default transition setting, you change the default for all projects. Changing the default transition doesn’t affect transitions already applied to sequences.
ADOBE PREMIERE PRO CS3 User Guide 177 Fine-tuning transitions Display transitions in the Effect Controls panel You can use the Effect Controls panel to change settings for a transition you placed in a sequence. Settings vary from transition to transition.
ADOBE PREMIERE PRO CS3 User Guide 178 Align a transition in the Timeline panel 1 In the Timeline panel, zoom in so that you can clearly see the transition.
ADOBE PREMIERE PRO CS3 User Guide 179 2 If the Effect Controls time ruler is not visible, click the Show/Hide Timeline View button in the Effect Controls panel.
ADOBE PREMIERE PRO CS3 User Guide 180 Default center (left) and repositioned center (right) Change transition settings 1 In the Timeline panel, click a transition to select it. 2 In the Effect Controls panel, adjust settings: Edge selectors Change the orientation or direction of the transition.
ADOBE PREMIERE PRO CS3 User Guide 181 Note: To change the gradient image or the softness, click Custom in the Effect Controls panel. To preview the transition, drag the current-time indicator through the transition in the Timeline panel.
182 Chapter 9: Audio In Adobe Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.1 surround channels. Working with audio About audio To work with audio, you must first import it into a project or record it directly to a track.
ADOBE PREMIERE PRO CS3 User Guide 183 A sequence can contain two types of audio tracks. Regular audio tracks contain actual audio. Submix tracks output the combined signals of tracks or sends routed to it. Submix tracks are useful for managing mixes and effects.
ADOBE PREMIERE PRO CS3 User Guide 184 Mixing audio tracks and clips Mixing is blending and adjusting the sounds that comprise audio in a sequence. A sequence can contain many audio clips on one or more audio tracks. Actions you perform when mixing audio can be applied at various levels within a sequence.
ADOBE PREMIERE PRO CS3 User Guide 185 Audio Mixer overview Audio Mixer A. Effect and Send area B. Controls area C. Playback controls In the Audio Mixer, you can adjust settings while listening to audio tracks and viewing video tracks.
ADOBE PREMIERE PRO CS3 User Guide 186 Audio mixer playback controls A. Go To In Point B. Go To Out Point C. Play/Stop Toggle D. Play In To Out E. Loop F.
ADOBE PREMIERE PRO CS3 User Guide 187 Monitor specific tracks in the Audio Mixer ❖ Click the Solo Track button for the corresponding tracks. Only the tracks with the Solo Track button enabled are monitored during playback. Note: You can also silence a track using the Mute Track button.
ADOBE PREMIERE PRO CS3 User Guide 188 Making quick audio adjustments Although Adobe Premiere Pro includes a full-featured audio mixer, there are times when you may not need many of the options. For example, you might be creating a rough cut from video and audio captured together from DV footage, output to stereo tracks.
ADOBE PREMIERE PRO CS3 User Guide 189 channels. However, if the clip doesn’t contain an even number of channels, a channel with silence is created and paired with the odd-numbered channel when the clip is added to a sequence.
ADOBE PREMIERE PRO CS3 User Guide 190 Map audio channels in a clip 1 Select one or more clips containing audio in the Project panel and choose Clip > Audio Options > Source Channel Mappings. Note: If you select more than one audio clip, make sure that the track format is the same for all the selected clips.
ADOBE PREMIERE PRO CS3 User Guide 191 Map your computer’s audio output to its speakers You can determine the target speaker in your computer’s sound system, for each audio channel supported by your computer’s audio processor.
ADOBE PREMIERE PRO CS3 User Guide 192 See also “ Linking multiple audio clips ” on page 192 Break all stereo tracks into mono tracks Adobe Premiere Pro can automatically break out individual stereo and surround channels to discrete monaural clips as each clip is captured or imported.
ADOBE PREMIERE PRO CS3 User Guide 193 Choosing track of multi-clip link in Source Monitor The Effect Controls panel displays all the video and audio tracks in a multi-clip link with the applied effects grouped together by track. You can apply effects from the Effects panel to a specific group in the Effect Controls panel.
ADOBE PREMIERE PRO CS3 User Guide 194 3 (Optional) Specify the In and Out points for a track. Specifying the In and Out points for a specific track applies the same amount of trimming to the In and Out points of the other linked tracks. The In and Out points of linked tracks with different durations will be different.
ADOBE PREMIERE PRO CS3 User Guide 195 Set the location for captured audio 1 Choose Edit > Preferences > Scratch Disks (Windows) or Premiere Pro > Preferences > Scratch Disks (Mac OS).
ADOBE PREMIERE PRO CS3 User Guide 196 Record an analog source You can record audio from an analog source device, such as a cassette deck or turntable. 1 Connect the analog source to the appropriate input jack on the computer or sound card.
ADOBE PREMIERE PRO CS3 User Guide 197 Record audio After you set up the audio hardware on your computer and specify the input audio device in Premiere Pro Audio Hardware Preferences, you’re ready to record. 1 Make sure that the input device (microphone or other audio device) is connected properly to the computer.
ADOBE PREMIERE PRO CS3 User Guide 198 Adjusting volume levels Adjusting gain and volume Gain generally refers to the input level or volume in clips. Volume generally refers to the output level or the volume in sequence clips or tracks.
ADOBE PREMIERE PRO CS3 User Guide 199 2 In the audio track header, click the Show Keyframes button , and choose one of the following from the pop-up menu: Show Clip Keyframes Lets you animate audio effects for a clip, including Volume Level. Show Clip Volume Lets you change only a clip’s Volume Level.
ADOBE PREMIERE PRO CS3 User Guide 200 4 (Optional) To change the Volume effect over time, move the current-time indicator and adjust the volume level graph in the Effect Controls panel. Each time you move the current-time indicator and make an adjustment, a new keyframe is created.
ADOBE PREMIERE PRO CS3 User Guide 201 6 Move the volume slider for the Master track up or down to increase or decrease the volume of the whole mix as you monitor the sound. Track Volume keyframes appear in each of the tracks for which you made volume adjustments, including the Master track.
ADOBE PREMIERE PRO CS3 User Guide 202 2 Make sure that the two audio clips are adjacent, and that both clips are trimmed. 3 Do one of the following: • To add the default audio transition, move the current-time indicator to the edit point between the clips, and choose Sequence > Apply Audio Transition.
ADOBE PREMIERE PRO CS3 User Guide 203 Applying audio effects in the Audio Mixer In the Audio Mixer, track effect options are controlled after an effect is selected in the Effects And Sends panel. If the Effects And Sends panel isn’t visible, display it by clicking the Show/Hide Effects And Sends triangle on the left side of the Audio Mixer.
ADOBE PREMIERE PRO CS3 User Guide 204 Consider planning the order of track effects before applying them because you can’t drag an effect to a different position in the Effects And Sends panel. 3 If needed, choose the effect parameter you want to edit from the pop-up menu at the bottom of the Effects And Sends panel.
ADOBE PREMIERE PRO CS3 User Guide 205 If you previously installed a VST-compatible application other than Adobe Premiere Pro, Adobe Premiere Pro finds VST effects in the VST folder that already exists.
ADOBE PREMIERE PRO CS3 User Guide 206 Recording audio mixes About recording audio changes Using the Audio Mixer, you can apply changes to audio tracks as a sequence plays back. You can instantly hear the results of any changes you make. You can control the volume, pan, and mute settings of a track or its sends.
ADOBE PREMIERE PRO CS3 User Guide 207 This step will show the keyframes you recorded with the Audio Mixer along the yellow change line. You can edit these keyframes like any others in the Timeline.
ADOBE PREMIERE PRO CS3 User Guide 208 Specify the automated keyframe creation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, degrading performance.
ADOBE PREMIERE PRO CS3 User Guide 209 • When an audio track and the output track are mono or when both tracks are 5.1 surround, panning and balancing aren’t available. The channels of both tracks correspond directly. While the master audio track is the default output track, a sequence can also include submix tracks.
ADOBE PREMIERE PRO CS3 User Guide 210 For best results monitoring pan or balance settings, make sure that each of the computer or audio card’s outputs is connected to the correct speaker, and make sure that positive and negative wires are connected consistently across all speakers.
ADOBE PREMIERE PRO CS3 User Guide 211 Like audio tracks that contain clips, submixes can be mono, stereo, or 5.1 surround. Submixes appear as fully functional tracks in both the Audio Mixer and the Timeline panel—you can edit submix track properties just as you edit a track containing audio clips.
ADOBE PREMIERE PRO CS3 User Guide 212 A send can be applied pre-fader or post-fader, and the outcome is that the track audio is sent either before or after the track’s volume fader is applied. With a pre-fader send, adjusting the track fader doesn’t affect the output level from the send.
ADOBE PREMIERE PRO CS3 User Guide 213 Choosing from Selected Parameter menu 4 Change the value of the property using the control knob above the Send Assignment Properties menu at the bottom of the sends list.
ADOBE PREMIERE PRO CS3 User Guide 214 Note: To preserve the integrity of left/right channel assignments, you may want to avoid using downmix options that include the LFE channel. Routing track output By default, track output is routed to the master track.
ADOBE PREMIERE PRO CS3 User Guide 215 2 Select Edit > Edit In Adobe Soundbooth, and choose one of the following: Edit Source file lets Soundbooth record changes to the source file on which the master clip is based, and any sub- clips and clip instances based on that master clip.
216 Chapter 10: Titles The Titler is a versatile tool, enabling you to create, not just titles and credits, but animated composites as well. Creating titles About the Titler You can think of the Titler as a collection of related panels.
ADOBE PREMIERE PRO CS3 User Guide 217 • Choose Title > New Title and then choose a title type. • In the Project panel, press the New Item button and choose Title. 2 Specify a name for the title and click OK. 3 Use the text and shape tools to create a new file or to customize a template.
ADOBE PREMIERE PRO CS3 User Guide 218 Note: In addition to importing Adobe Premiere Pro titles and Adobe Premiere Elements titles with the .prtl extension, you can import titles with the .ptl extension, created in earlier versions of Adobe Premiere. The imported titles become part of the current project file.
ADOBE PREMIERE PRO CS3 User Guide 219 You can easily change any element in the template by selecting the element and either deleting it or overwriting it. You can also add elements to the template. After you modify the template, you can save it as a title file for use in current and future projects.
ADOBE PREMIERE PRO CS3 User Guide 220 3 Enter a name for the title template, and then click OK. Adding text to titles Enter text in titles When adding text to a title, you can use any font on your system, including Type 1 (PostScript®), OpenType®, and TrueType fonts.
ADOBE PREMIERE PRO CS3 User Guide 221 4 When you finish typing, choose the Selection tool and click outside the text box. Note: Resizing the text box created with the Horizontal or Vertical Area Type tool resizes only the visible area of the box; the text remains the same size.
ADOBE PREMIERE PRO CS3 User Guide 222 Change the font size ❖ Select the text and do one of the following: • Choose Title > Size and choose a font size. • Change the Font Size value in the Title Properties panel. Change text orientation 1 Select a text object.
ADOBE PREMIERE PRO CS3 User Guide 223 Slant Specifies the slant of an object, in degrees. Small Caps When selected, specifies that all selected objects appear in uppercase. Small Caps Size Specifies the size of the small caps as a percentage of regular height.
ADOBE PREMIERE PRO CS3 User Guide 224 See also “ Create titles that roll or crawl ” on page 238 “ Align and distribute objects in titles ” on page 229 Set and adjust a tab stop 1 Select a text box. 2 Choose Title > Tab Stops. • To create a tab stop with left-justified text, click the Left Justify tab marker .
ADOBE PREMIERE PRO CS3 User Guide 225 • Alt-drag (Windows) or Option-drag (Mac OS) to draw from the center of the shape. • Shift+Alt-drag (Windows) or Shift+Option-drag (Mac OS) to constrain the aspect ratio and draw from the center. • Drag diagonally across the corner points to flip the shape diagonally as you draw.
ADOBE PREMIERE PRO CS3 User Guide 226 Draw curves with the Pen tool Draw curved segments by dragging the anchor points with the Pen tool. When you use the Selection tool to select an anchor point connecting curved segments, the segments display direction lines , which end in direction points .
ADOBE PREMIERE PRO CS3 User Guide 227 6 Continue dragging the Pen tool from different locations to create additional points. • To close the path, position the Pen tool over the first anchor point. Click or drag to close the path. • To leave the path open, Ctrl-click anywhere away from all objects or select the Selection tool.
ADOBE PREMIERE PRO CS3 User Guide 228 Change the curve of a segment 1 Select the path you want to modify. 2 Select the Pen tool and drag a segment to change its curve. Note: Dragging a segment changes the curve by adjusting the direction lines at each end of the segment by the same amount.
ADOBE PREMIERE PRO CS3 User Guide 229 Place a logo in a text box 1 Using a type tool, click where you want to insert the logo. 2 Choose Title > Logo > Insert Logo Into Text.
ADOBE PREMIERE PRO CS3 User Guide 230 2 In the Title Actions panel, click the button for the type of centering you want. Note: You can center objects using the Title > Position command and selecting the option you want.
ADOBE PREMIERE PRO CS3 User Guide 231 • Use the arrow keys to nudge the object in 1-pixel increments, or press Shift+arrow key to nudge the object in 5-pixel increments. • Choose Title > Position and choose an option to center the selected object or align its bottom edge with the bottom of the title-safe margin.
ADOBE PREMIERE PRO CS3 User Guide 232 Adding fills, strokes, and shadows in titles About object properties You can apply custom properties to each object or group of objects you create, and save a combination of properties as a style . Styles appear as buttons in the Title Styles panel.
ADOBE PREMIERE PRO CS3 User Guide 233 The Color option specifies the beginning and ending gradient colors, which are displayed, respectively, in the left and right boxes, or color stops . Double-click a color stop to choose a color. Drag the color stops to adjust the transition smoothness between the colors.
ADOBE PREMIERE PRO CS3 User Guide 234 Rotate With O bject Rotates the texture in sync with the object. Scaling O bject X, Scaling O bject Y Specifies how the texture is stretched along the x or y axis when applied to the object.
ADOBE PREMIERE PRO CS3 User Guide 235 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. 4 Set any of the following options: Type Specifies the type of stroke you apply.
ADOBE PREMIERE PRO CS3 User Guide 236 Selecting Delete Stroke from Title Properties panel menu Create a drop shadow Add drop shadows to any object you create in the Titler. The various shadow options give you full control over color, opacity, angle, distance, size, and spread.
ADOBE PREMIERE PRO CS3 User Guide 237 Title Styles panel Modify the style swatch display The Title Styles panel displays the default style library as well as style swatches you create or load.
ADOBE PREMIERE PRO CS3 User Guide 238 • To duplicate a style, select it, and choose Duplicate Style from the Title Styles menu. A duplicate of the selected style appears in the Title Styles panel. • To rename a style, select it, and choose Rename Style from the Title Styles menu.
ADOBE PREMIERE PRO CS3 User Guide 239 See also “ Enter text in titles ” on page 220 “ Create tab stops in titles ” on page 223 Create a rolling or crawling title 1 Do one of the following: • To create a rolling title, choose Title > New Title > Default Roll.
240 Chapter 11: Applying Effects Using the Effects panel and Effect Controls panel, you can exercise great control over video and audio effects. Working with effects Working with effects Adobe Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program.
ADOBE PREMIERE PRO CS3 User Guide 241 About Fixed effects Every clip you add to the Timeline panel has Fixed effects preapplied, or built in. Fixed effects control the inherent properties of a clip and appear in the Effect Controls panel whenever the clip is selected.
ADOBE PREMIERE PRO CS3 User Guide 242 Audio effects can be applied to either clips or to tracks. To apply track-based effects, use the Audio Mixer. If you add keyframes to the effect, you can then adjust the effect either in the Audio Mixer or the Timeline panel.
ADOBE PREMIERE PRO CS3 User Guide 243 About high bit-depth effects Adobe Premiere Pro includes a number of video effects and transitions that support high bit-depth processing.
ADOBE PREMIERE PRO CS3 User Guide 244 Effects panel A. Effects bins B. Custom bin C. Audio effect D. Audio transition E. Video effect F. Video transition G.
ADOBE PREMIERE PRO CS3 User Guide 245 • Expand the Audio Effects bin to locate the desired audio effect. • Type the name of the effect you want in the Contains text box. 2 Drag the effect to a clip in the Timeline panel. To apply an audio effect, drag the effect to an audio clip or the audio portion of a video clip.
ADOBE PREMIERE PRO CS3 User Guide 246 Adjusting effects About the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip.
ADOBE PREMIERE PRO CS3 User Guide 247 Effect Controls panel A. Reset Effect button B. Show/Hide Effect parameters triangle C. Toggle The Effect On Or Off button D.
ADOBE PREMIERE PRO CS3 User Guide 248 View the Effect Controls panel ❖ Choose Window > Effect Controls, or click the Effect Controls tab to view the Effect Controls panel. You can view the Effect Controls panel in a separate panel, or you can dock it by dragging the tab onto another panel.
ADOBE PREMIERE PRO CS3 User Guide 249 • To set a color value using an Eyedropper tool, click the desired color anywhere on the computer screen. By default, the Eyedropper tool selects a one pixel area. Ctrl-clicking (Windows) or Command-clicking (Mac OS) an Eyedropper tool samples a 5 x 5 pixel area.
ADOBE PREMIERE PRO CS3 User Guide 250 To view the properties of an effect preset, select the preset in the Effects panel, and choose Preset Properties from the Effects panel menu.
ADOBE PREMIERE PRO CS3 User Guide 251 You create and store custom and preset bins in the Effects panel. New preset bins reside inside the root Presets bin. Though you cannot drag them from the Presets bin, you can create and arrange them within that bin in any hierarchy you like.
ADOBE PREMIERE PRO CS3 User Guide 252 Program monitor A. Anchor point B. Handle Standard effects that allow direct manipulation of clips in the Program Monitor include all the Generate effects, Corner Pin, Crop, Garbage Matte, Lighting Effects, Mirror, Transform, Twirl, and more.
ADOBE PREMIERE PRO CS3 User Guide 253 The handles and anchor point appear in the Program Monitor. 3 In the Program Monitor, do any of the following: • To position a clip or lighting effect, click in the clip or effect outline and drag to reposition it.
ADOBE PREMIERE PRO CS3 User Guide 254 To quickly apply Motion effect changes to a sequence clip, you can click the image in the Program Monitor and begin manipulation (without first clicking the Transform icon next to the Motion effect in the Effect Controls panel).
ADOBE PREMIERE PRO CS3 User Guide 255 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.
ADOBE PREMIERE PRO CS3 User Guide 256 Move a clip along a curve You can move a clip along a curve using Bezier handles in the Program Monitor. 1 Select a clip in the Timeline panel.
ADOBE PREMIERE PRO CS3 User Guide 257 The anchor point of a clip in the Program Monitor 3 Select the Effect Controls tab, and, if necessary, click the triangle next to the Motion heading to open the Motion controls.
ADOBE PREMIERE PRO CS3 User Guide 258 Eliminate flicker Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens. The Anti-flicker Filter control in the Motion effect can reduce or eliminate this flicker.
ADOBE PREMIERE PRO CS3 User Guide 259 Correcting exposure: Overexposed image with the waveform in the upper limits of the IRE scale (left) and corrected image with t he waveform within 7.
ADOBE PREMIERE PRO CS3 User Guide 260 Y CbCr Parade Displays waveforms representing levels of the luminance and color difference channels in the digital video signal. Users comfortable with viewing YUV waveforms might consider using this scope when making color and luminance adjustments.
ADOBE PREMIERE PRO CS3 User Guide 261 8 Do any of the following: • 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.
ADOBE PREMIERE PRO CS3 User Guide 262 The Gray Balance control adjusts the sampled area to become a neutral gray and the Black Balance control adjusts the sampled area to become a neutral black. Like using the White Balance control, these adjustments affect all the colors in the clip.
ADOBE PREMIERE PRO CS3 User Guide 263 When making adjustments with the color wheel and Saturation control, it’s useful to open a Reference Monitor to view the Vectorscope ganged to the composite video in the Program Monitor. The color wheel adjustments offer the following adjustments: Hue Angle Rotates the color towards a target color.
ADOBE PREMIERE PRO CS3 User Guide 264 Adjust color balance and saturation Although the following procedure uses the color wheel adjustments. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-Way Color Corrector effects.
ADOBE PREMIERE PRO CS3 User Guide 265 Adjusting the Balance Gain to fine-tune the Balance Magnitude setting. Note: The Three-Way Color Corrector effect lets you make separate adjustments to the three tonal ranges using individual wheels for the shadows, midtones, and highlights.
ADOBE PREMIERE PRO CS3 User Guide 266 6 Do one of the following to make curve adjustments: • To adjust the luminance, click to add a point on the Luma or Master graph and drag to change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip.
ADOBE PREMIERE PRO CS3 User Guide 267 5 (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu. This option only affects the preview in the Program Monitor, it doesn’t remove the color from the video.
ADOBE PREMIERE PRO CS3 User Guide 268 Black Input Level slider Maps the input black level to the setting of the Black Output slider. By default, the Output black slider is set to 0, where the pixels are completely black. If you’ve adjusted the Black Output to 7.
ADOBE PREMIERE PRO CS3 User Guide 269 2 Select the component you want to use to display the color spectrum: H Displays all hues in the color slider. Selecting a hue in the color slider displays the sa.
ADOBE PREMIERE PRO CS3 User Guide 270 Define the tonal ranges in a clip The Luma Corrector, RGB Color Corrector, and Three-Way Color Corrector effects let you define the tonal ranges for the shadows, midtones, and highlights so you can apply a color correction to a specific tonal range in an image.
ADOBE PREMIERE PRO CS3 User Guide 271 Specify a color or range of colors to adjust The Secondary Color Correction property specifies the color range to be corrected by an effect.
ADOBE PREMIERE PRO CS3 User Guide 272 Choosing Mask from Output menu to display selected areas (white) and protected areas (black). 7 Use the following controls to specify how a color correction is applied to a color or range of colors: Soften Applies a Gaussian blur to the selected area generated by the Secondary Color Correction controls.
ADOBE PREMIERE PRO CS3 User Guide 273 If you need more control than the Color Match effect offers, use the Secondary Color Correction controls in the RGB Corrector, RGB Curves, and Three-Way Color Corrector. These controls let you adjust a single color or a range of colors.
ADOBE PREMIERE PRO CS3 User Guide 274 7 Broaden or reduce the range of the color you’re replacing by dragging the Similarity slider. 8 Select the Solid Colors option to replace the specified color without preserving any gray levels.
ADOBE PREMIERE PRO CS3 User Guide 275 4 (Optional) Drag the slider, scrub the underlined text, or type a value for the channel’s constant value (Red-Const, Green-Const, or Blue-Const). This value adds a base amount of a channel to the output channel.
ADOBE PREMIERE PRO CS3 User Guide 276 If the clip is already selected in the Timeline panel, you can drag the Convolution Kernel to the Video Effects section of the Effect Controls panel. 3 In the Effect Controls panel, click the triangle next to Convolution Kernel to expand it.
ADOBE PREMIERE PRO CS3 User Guide 277 4 Choose a light type from the pop-up menu to specify the light source: N one Turns off a light. Directional Shines light from far away so that the light angle doesn’t change—like the sun. O mni Shines light in all directions from directly above the image—like a light bulb over a piece of paper.
ADOBE PREMIERE PRO CS3 User Guide 278 Exposure Increases (positive values) or decreases (negative values) the light’s brightness. A value of 0 is the default brightness of the light. 9 (Optional) Repeat steps 3 - 7 to add more lights (Light 2 - Light 5).
ADOBE PREMIERE PRO CS3 User Guide 279 View a scope You can view a vectorscope, YC waveform, YCbCr Parade, and an RGB Parade scope either individually or grouped in the Reference Monitor, Program Monitor, or Source Monitor.
ADOBE PREMIERE PRO CS3 User Guide 280 Y C Waveform The YC Waveform displays a graph showing the signal intensity in the video clip. The horizontal axis of the graph corresponds to the video image (from left to right) and the vertical axis is the signal intensity in units called IRE (named for the Institute of Radio Engineers).
ADOBE PREMIERE PRO CS3 User Guide 281 Note: CbCr are the color difference channels in a digital video signal. Cb is blue minus luma and Cr is red minus luma. Y represents luma. YCbCr Parade scope A. Values B. Y (luminance) waveform C. Cb waveform D. Cr waveform E.
282 Chapter 12: Animation Using keyframes you can change, or animate, the parameters of most effects over time. Keyframing effects About animating effects Although commonly used to mean “move a figure across the screen,” the word animate is used in motion-picture editing and compositing to mean “change an attribute through time.
ADOBE PREMIERE PRO CS3 User Guide 283 • Like the Timeline panel, the Effect Controls panel also displays keyframes graphically. Once keyframing is activated for an effect property, you can display the Value and Velocity graphs. The Value graph displays keyframes with changes in an effect’s property values.
ADOBE PREMIERE PRO CS3 User Guide 284 4 (Optional) If you want to view the Value and Velocity graphs of an effect property’s settings, click the triangle next to the Toggle Animation icon to expand an effect property. Effect Controls A. Value graph B.
ADOBE PREMIERE PRO CS3 User Guide 285 Keyframe tool tip A. Timecode B. Property value 1 (Optional) If the track is collapsed, click the triangle to the left of the track name to expand it.
ADOBE PREMIERE PRO CS3 User Guide 286 6 (Optional) If you chose Show Keyframes, Show Clip Keyframes, or Show Track Keyframes in steps 2 and 3, click the effect menu and choose the effect that contains keyframes. Choosing from the effects pop-up menu 7 Place the pointer directly over a keyframe to view its property in a tool tip.
ADOBE PREMIERE PRO CS3 User Guide 287 4 In the Effect Controls panel, click the triangle next to the effect property you want to animate. 5 Click the Toggle Animation button next to the property name. A keyframe appears at the current time. Keyframing is now activated for an effect’s property.
ADOBE PREMIERE PRO CS3 User Guide 288 • To select multiple keyframes by dragging a selection, use the Pen tool to drag a marquee around the keyframes to select contiguous keyframes.
ADOBE PREMIERE PRO CS3 User Guide 289 Delete keyframes If you no longer need a keyframe, you can easily delete it from an effect property in either the Effect Controls or the Timeline panel. You can remove all keyframes at once or deactivate keyframes for the effect property.
ADOBE PREMIERE PRO CS3 User Guide 290 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.
ADOBE PREMIERE PRO CS3 User Guide 291 6 Do any combination of the following: • 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.
ADOBE PREMIERE PRO CS3 User Guide 292 Moving and copying keyframes Move keyframes You can move any keyframe to a different point in time. When you move keyframes, you move the values and settings they contain. Moving keyframes makes it easy to change the speed of animations.
ADOBE PREMIERE PRO CS3 User Guide 293 Copy and paste keyframes in the Timeline panel When you paste keyframes into the Timeline panel, the earliest keyframe appears at the current time and the other keyframes follow in relative order. The keyframes remain selected after pasting, so you can fine-tune their location.
ADOBE PREMIERE PRO CS3 User Guide 294 The two most common types of interpolation are linear interpolation and Bezier interpolation . Linear interpolation Creates an evenly-paced change from one keyframe to another, with each in-between frame given an equal share of the changed value.
ADOBE PREMIERE PRO CS3 User Guide 295 Keyframe interpolation methods A. Normal In/Out B. Bezier/Continuous Bezier/Ease In/Ease Out C. Auto Bezier D. Hold Control change using Bezier keyframe interpolation Bezier handles are two-directional controls that change the curve of the line segment between the handle and the next point on either side.
ADOBE PREMIERE PRO CS3 User Guide 296 Fine-tune the speed of an effect In the Effect Controls panel, you can use the Velocity graph to adjust motion or the rate of change for a value just before and just after a keyframe. Such adjustments can simulate real-world motion.
297 Chapter 13: Effect reference You can correct, improve, and otherwise modify your assets with any of the dozens of effects provided in Adobe Premiere Pro. About the effect reference Descriptions of effects This reference contains descriptions of all audio and video effects included as part of Adobe Premiere Pro.
ADOBE PREMIERE PRO CS3 User Guide 298 Crop Directional Blur Edge Feather Emboss Extract Fast Blur Find Edges Gaussian Blur Original image Horizontal Flip Invert Lens Distortion Lens Flare Lightning Mi.
ADOBE PREMIERE PRO CS3 User Guide 299 Adjust effects Auto Color, Auto Contrast, and Auto Levels effects The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip. Auto Color adjusts contrast and color by neutralizing the midtones and clipping the white and black pixels.
ADOBE PREMIERE PRO CS3 User Guide 300 Convolution Kernel pixel grid, showing the position of each control in the matrix See also “ Adjust edges, blurs and brightness using Convolution presets ” on page 275 Extract effect The Extract effect removes colors from a video clip, creating a grayscale image.
ADOBE PREMIERE PRO CS3 User Guide 301 Posterize effect The Posterize effect lets you specify the number of tonal levels (or brightness values) for each channel in an image.
ADOBE PREMIERE PRO CS3 User Guide 302 Color Correction The amount of color correction that the effect applies to the adjusted shadows and highlights. For example, if you increase the Shadow Amount value, you bring out colors that were dark in the original image; you may want these colors to be more vivid.
ADOBE PREMIERE PRO CS3 User Guide 303 Channel Blur effect The Channel Blur effect blurs a clip’s red, green, blue, or alpha channels individually. You can specify that the blur is horizontal, vertical, or both.
ADOBE PREMIERE PRO CS3 User Guide 304 Fast Blur effect Fast Blur is a close approximation of Gaussian Blur, but Fast Blur blurs large areas more quickly. Original (left), and with effect applied (right) Gaussian Blur effect (High bit-depth) The Gaussian Blur effect blurs and softens the image and eliminates noise.
ADOBE PREMIERE PRO CS3 User Guide 305 Channel effects Arithmetic effect The Arithmetic effect performs various simple mathematical operations on an image’s red, green, and blue channels.
ADOBE PREMIERE PRO CS3 User Guide 306 Calculations effect The Calculations effect combines the channels of one clip with the channels of another clip. Original images (left and center), and with effect applied (right) Input Channel The channel to extract and use as input to the blending operation.
ADOBE PREMIERE PRO CS3 User Guide 307 set this value to 100%, the effect has no visible result on the clip; if you set this value to 0%, the original image doesn’t show through. Invert (video) effect The Invert (video) effect inverts the color information of an image.
ADOBE PREMIERE PRO CS3 User Guide 308 Stretch Matte To Fit Scales the selected clip to match the size of the current clip. If Stretch Matte to Fit is deselected, the clip designated as the matte is centered in the first clip. Composite Matte With O riginal Composites the new matte with the current clip, rather than replacing it.
ADOBE PREMIERE PRO CS3 User Guide 309 • Reduce Saturation Moves the pixel’s color toward a gray of similar brightness, making the pixel less colorful. For the same IRE level, reducing saturation alters the image more noticeably than does reducing luminance.
ADOBE PREMIERE PRO CS3 User Guide 310 To animate a color change, set keyframes for the To color. Change Which channels are affected. Change By How to change colors.
ADOBE PREMIERE PRO CS3 User Guide 311 Color Balance effect The Color Balance effect changes the amount of red, green, and blue in the shadows, midtones, and highlights of an image. Preserve Luminosity Preserves the average brightness of the image while changing the color.
ADOBE PREMIERE PRO CS3 User Guide 312 Adjustments to the Hue Balance And Angle can be viewed in the vectorscope. Hue Angle Controls the hue rotation. The default value is 0. Negative values rotate the color wheel to the left and positive values rotate the color wheel to the right.
ADOBE PREMIERE PRO CS3 User Guide 313 Leave Color effect The Leave Color effect removes all colors from a clip except those similar to the Color To Leave. For example, a movie of a basketball game could be decolored except for the orange of the ball itself.
ADOBE PREMIERE PRO CS3 User Guide 314 Gamma Adjusts the image’s midtone values without affecting black and white levels. This control causes changes in contrast, much like changing the shape of the curve in the Luma Curve effect. Use this control to adjust images that are too dark or too light, without distorting shadows and highlights.
ADOBE PREMIERE PRO CS3 User Guide 315 Secondary Color Correction Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls. Note: Choose Mask from the Output menu to view the areas of the image that are selected as you define the color range.
ADOBE PREMIERE PRO CS3 User Guide 316 Tonal Range Specifies whether the color correction is applied to the entire image (Master), the highlights only, midtones only, or shadows only. Gamma Adjusts the image’s midtone values without affecting black and white levels.
ADOBE PREMIERE PRO CS3 User Guide 317 RGB Curves effect (High bit-depth) The RGB Curves effect adjusts a clip’s color using curve adjustments for each color channel. Each curve lets you adjust up to 16 different points throughout an image’s tonal range.
ADOBE PREMIERE PRO CS3 User Guide 318 Three-Way Color Corrector effect (High bit-depth) The Three-Way Color Corrector effect lets you make subtle corrections by adjusting a clip’s hue, saturation, and brightness for the shadow, midtones, and highlights.
ADOBE PREMIERE PRO CS3 User Guide 319 Highlights/Midtones/Shadows Hue Angle Controls the hue rotation in the highlights, midtones, or shadows. The default value is 0. Negative values rotate the color wheel to the left and positive values rotate the color wheel to the right.
ADOBE PREMIERE PRO CS3 User Guide 320 Secondary Color Correction Specifies the color range to be corrected by the effect. You can define the color by hue, saturation, and luminance. Click the triangle to access the controls. Note: Choose Mask from the Output menu to view the areas of the image that are selected as you define the color range.
ADOBE PREMIERE PRO CS3 User Guide 321 Chroma Max Specifies the maximum saturation for the colors in an image. Signal Min Specifies the minimum video signal including both brightness and saturation. Signal Max Specifies the maximum video signal including both brightness and saturation.
ADOBE PREMIERE PRO CS3 User Guide 322 Original image (left), corner moved (center), and final image (right) Lens Distortion effect (Windows only) The Lens Distortion effect simulates a distorted lens through which the clip is viewed. Curvature Changes the curvature of the lens.
ADOBE PREMIERE PRO CS3 User Guide 323 Size The radius of the magnified area, in pixels. Feather The amount of edge feather, in pixels. O pacity The opacity of the magnified area, as a percentage of the opacity of the original clip.
ADOBE PREMIERE PRO CS3 User Guide 324 Note: In Adobe After Effects, the Transform effect includes the Shutter Angle control and Use Composition’s Shutter Angle option. Both controls are adjusted only in After Effects. Turbulent Displace effect The Turbulent Displace effect uses fractal noise to create turbulent distortions in an image.
ADOBE PREMIERE PRO CS3 User Guide 325 Resize Layer Enables the distorted image to expand past the clip’s bounding box. Twirl effect The Twirl effect distorts an image by rotating a clip around its center. The image is distorted more sharply in its center than at the edges, causing a whirlpool result at extreme settings.
ADOBE PREMIERE PRO CS3 User Guide 326 See also “ Ripple (Circular) effect (Windows only) ” on page 326 Refraction effect (Windows only) Use this effect to create a ripple and add a refractive look to the surface of your image.
ADOBE PREMIERE PRO CS3 User Guide 327 Cell Pattern effect The Cell Pattern effect generates cellular patterns based on cellular noise. Use it to create static or moving background textures and patterns. The patterns can be used in turn as textured mattes, as transition maps, or as a source for displacement maps.
ADOBE PREMIERE PRO CS3 User Guide 328 Evolution O ptions Provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to prerender the cell pattern elements into loops, and thus speed up rendering time.
ADOBE PREMIERE PRO CS3 User Guide 329 Circle effect The Circle effect creates either a customizable solid circle or ring. Edge None creates a solid disk.
ADOBE PREMIERE PRO CS3 User Guide 330 • All Premultiplied Samples the average of all RGB color values, premultiplied with the alpha channel. • Including Alpha Samples the average of all RGB color and alpha channel values. The result is that the sampled color also contains the average transparency of the sampled pixels.
ADOBE PREMIERE PRO CS3 User Guide 331 Flare Brightness Specifies the percentage of brightness. Values can range from 10% to 300%. Lens Type Selects the type of lens to simulate. Blend With O riginal Specifies the degree to which the effect will be blended with the source clip.
ADOBE PREMIERE PRO CS3 User Guide 332 Bright colors often become much lighter, sometimes becoming white, depending on the brightness of colors beneath. Pull Force, Pull Direction The strength and direction of a force that pulls the lightning bolt. Use the Pull Force value with the Stability value to create a Jacob’s Ladder appearance.
ADOBE PREMIERE PRO CS3 User Guide 333 • Feather Creates a feathered edge for the filled area. Feather Softness values create a more gradually disappearing edge. • Spread Expands the area of the fill color. The Spread Radius value indicates the number of pixels the fill color extends beyond the edge of the fill area.
ADOBE PREMIERE PRO CS3 User Guide 334 Paint Time Properties and Brush Time Properties Specifies whether paint properties and brush properties are applied to each brush mark or to the entire stroke. Choose None to apply values at each time to all brush marks in the stroke.
ADOBE PREMIERE PRO CS3 User Guide 335 Color Replace effect (Windows only) The Color Replace effect replaces all occurrences of a selected color with a new color, preserving any gray levels. Using this effect, you could change the color of an object in an image by selecting it and then adjusting the controls to create a different color.
ADOBE PREMIERE PRO CS3 User Guide 336 Chroma Key effect A. Original image B. Blue color keyed out C. Image on second track D. Final composite image See also “ About Chroma Key ” on page 370 Color Key effect The Color Key effect keys out all image pixels that are similar to a specified key color.
ADOBE PREMIERE PRO CS3 User Guide 337 See also “ Replace a static background with Difference Matte ” on page 374 Difference Matte online training video Eight-Point, Four-Point, and Sixteen-Point G.
ADOBE PREMIERE PRO CS3 User Guide 338 See also “ About Luma Key ” on page 372 N on Red Key effect The Non Red Key effect makes the clip’s nonred (blue or green) pixels transparent.
ADOBE PREMIERE PRO CS3 User Guide 339 Original image with scratches (left), enlarged view of scratches (center), and scratches removed with loss of clarity (right) Radius How far the effect searches for differences among pixels. High values make the image blurry.
ADOBE PREMIERE PRO CS3 User Guide 340 To produce flashing noise, animate the Random Seed control. To create smoothly animated noise, animate the Noise Phase value. N oise Phase Specifies the placement of noise. This control is active only if you choose Uniform Animation or Squared Animation.
ADOBE PREMIERE PRO CS3 User Guide 341 Perspective effects Basic 3D effect (Windows only) The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you.
ADOBE PREMIERE PRO CS3 User Guide 342 When you add a drop shadow to a clip, a soft-edged outline of the clip’s alpha channel appears behind it, as if a shadow is cast on the background or underlying objects. Unlike most other effects, Drop Shadow can create a shadow outside the bounds of the clip (the dimensions of the clip’s source).
ADOBE PREMIERE PRO CS3 User Guide 343 Render The type of shadow: • Regular Creates a shadow based on the Shadow Color and Opacity values, regardless of semi-transparent pixels in the clip. (If Regular is chosen, the Color Influence control is disabled.
ADOBE PREMIERE PRO CS3 User Guide 344 Original image (left), with effect applied (center), and with Brush Size and Length adjusted (right) Stroke Angle The direction in which the strokes are made. The image is effectively shifted in this direction, which may cause some clipping at the clip boundaries.
ADOBE PREMIERE PRO CS3 User Guide 345 Find Edges effect The Find Edges effect identifies the areas of the image that have significant transitions and emphasizes the edges. Edges can appear as dark lines against a white background or colored lines against a black background.
ADOBE PREMIERE PRO CS3 User Guide 346 Evolution Animating this setting results in changes of the roughness over time. Note: Although the Evolution value is set in units called revolutions, it’s important to realize that these revolutions are progressive.
ADOBE PREMIERE PRO CS3 User Guide 347 Texturize effect (Windows only) The Texturize effect gives a clip the appearance of having the texture of another clip. For example, you could make the image of a tree appear as if it had the texture of bricks, and you can control the depth of the texture and the apparent light source.
ADOBE PREMIERE PRO CS3 User Guide 348 • Screen Emulates combining the echoes by sandwiching them optically. This setting is similar to Add, but it won’t overload as quickly. • Composite In Back Uses the echoes’ alpha channels to composite them back to front.
ADOBE PREMIERE PRO CS3 User Guide 349 Tuning controls for Pixel Motion interpolation Vector Details Determines how many motion vectors are used during interpolation. The more vectors used, the longer the rendering time. A value of 100 produces one vector per pixel.
ADOBE PREMIERE PRO CS3 User Guide 350 Transform effects Camera View effect (Windows only) The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip.
ADOBE PREMIERE PRO CS3 User Guide 351 Roll effect (Windows only) The Roll effect rolls a clip to the left or to the right, or up or down, as if the image were on a cylinder. Vertical Flip effect The Vertical Flip effect flips a clip upside down. Keyframes cannot be applied to this effect.
ADOBE PREMIERE PRO CS3 User Guide 352 You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illus - trator.
ADOBE PREMIERE PRO CS3 User Guide 353 Original image (left), and with effect applied (center and right) Utility effects Cineon Converter effect The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames. To use the Cineon Converter effect, import a Cineon file and add the clip to a sequence.
ADOBE PREMIERE PRO CS3 User Guide 354 Video effects Timecode effect The Timecode effect overlays a timecode display on your video to make pinpointing scenes and collaborating with team members and clients easier. The timecode display indicates whether the clip is progressive or interlaced.
ADOBE PREMIERE PRO CS3 User Guide 355 Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips. Center Specifies the frequency at the center of the specified range.
ADOBE PREMIERE PRO CS3 User Guide 356 • Feedback Adds a percentage of processed voices back into the effect input. Feedback can give a waveform an extra echo or reverb effect. A little feedback (less than 10%) can provide extra richness, depending on the delay and vibrato settings.
ADOBE PREMIERE PRO CS3 User Guide 357 Male and Female Specifies the gender of the narrator or vocalist. This option helps the effect to adapt to the difference in tone between genders. DeHummer effect The DeHummer removes unwanted 50 Hz / 60 Hz hum from the audio.
ADOBE PREMIERE PRO CS3 User Guide 358 Dynamics effect The Dynamics effect provides a set of controls that can be combined or used independently to adjust audio. Use either the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view.
ADOBE PREMIERE PRO CS3 User Guide 359 • Release Specifies the time (between 10 and 500 milliseconds) required for the gain to return to the normal level after a clip occurs. SoftClip Reduces clipping similar to Limiter but doesn’t use hard limiting.
ADOBE PREMIERE PRO CS3 User Guide 360 Delay Sets the point in milliseconds at which flanging starts behind the original signal. The flanging effect occurs by cycling over time from an initial delay setting to a second (or final) delay setting. Highpass and Lowpass effects The Highpass effect removes frequencies below the specified Cutoff frequency.
ADOBE PREMIERE PRO CS3 User Guide 361 Feedback 1-4 Specifies the percentage of the delayed signal to be added back into the delay to create multiple decaying echoes. Level 1-4 Controls the volume of each echo. Mix Controls the amount of delayed and nondelayed echo.
ADOBE PREMIERE PRO CS3 User Guide 362 PitchShifter effect The PitchShifter effect adjusts the pitch of the incoming signal. Use this effect to deepen high voices or vice versa. You can adjust each property using graphical controls in the Custom Setup view, or by changing values in the Individual Parameters view.
ADOBE PREMIERE PRO CS3 User Guide 363 Treble effect The Treble effects lets you increase or decrease higher frequencies (4000 Hz and above). The Boost control specifies the amount, measured in decibels, to increase or decrease. This effect is available for 5.
364 Chapter 14: Compositing Compositing is the process of creating a compound image by superimposing one or more clips on another. A number of compositing tools are built into Adobe Premiere Pro.
ADOBE PREMIERE PRO CS3 User Guide 365 • If a clip’s source file doesn’t contain an alpha channel, you must manually apply transparency to individual clip instances where you want transparency. You can apply transparency to a video clip in a sequence by adjusting clip opacity or by applying effects.
ADOBE PREMIERE PRO CS3 User Guide 366 2 In the Effect Controls panel, click the triangle next to the Opacity effect to expand its settings. 3 (Optional) If you’re animating the Opacity effect over time, click the Toggle Animation icon and make sure the current-time indicator is at the time you want in the Effect Controls timeline.
ADOBE PREMIERE PRO CS3 User Guide 367 Transparency (masks, alpha channels) About transparency Before you can create a composite from multiple images, parts of one or more of the images must be transparent.
ADOBE PREMIERE PRO CS3 User Guide 368 About straight and premultiplied channels Alpha channels store transparency information in files in one of two ways: straight or premultiplied.
ADOBE PREMIERE PRO CS3 User Guide 369 Dragging a key from the Effects panel to a clip in the Timeline panel 3 In the Video Effects section of the Effect Controls panel, click the triangle next to the key effect name to expand its settings.
ADOBE PREMIERE PRO CS3 User Guide 370 Make a color transparent with Color Key The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a layer. When you key out a color value in a clip, that color or range of colors becomes transparent for the entire clip.
ADOBE PREMIERE PRO CS3 User Guide 371 See also “ Chroma Key effect ” on page 335 About RGB Difference Key The RGB Difference Key is a simpler version of the Chroma Key. It lets you select a range for the target color, but you cannot blend the image or adjust transparency in grays.
ADOBE PREMIERE PRO CS3 User Guide 372 Subject is photographed against blue background (left). Blue Screen Key effect is applied (right) to superimpose subject over u nderlying track. See also “ Blue Screen Key effect ” on page 335 About N on Red Key The Non Red Key creates transparency from green or blue backgrounds.
ADOBE PREMIERE PRO CS3 User Guide 373 Cutoff Sets the opacity of nontransparent areas specified by the Threshold slider. Higher values increase trans- parency. You can also use the Luma Key to key out light areas by setting Threshold to a low value and Cutoff to a high value.
ADOBE PREMIERE PRO CS3 User Guide 374 8 (Optional) If you’re animating the Image Matte Key over time, make sure that the current-time indicator is in the position you want.
ADOBE PREMIERE PRO CS3 User Guide 375 7 Drag the Difference Matte effect onto the foreground video clip. 8 In the Effect Controls panel, click the triangle next to Difference Matte to expose its controls. 9 From the Difference Layer drop-down menu, select the track that contains the matte frame.
ADOBE PREMIERE PRO CS3 User Guide 376 4 In the Effects panel, click the triangle to expand the Video Effects bin and then click the triangle to expand the Keying bin. 5 Drag the Track Matte Key to the superimposed clip. 6 In the Effect Controls panel, click the triangle next to the Track Matte Key name to expand its settings.
ADOBE PREMIERE PRO CS3 User Guide 377 2 In the Effects panel, click the triangle to expand the Video Effects bin and then click the triangle to expand the Keying bin. 3 Drag either the Eight-Point Garbage Matte, the Four-Point Garbage Matte, or the Sixteen-Point Garbage Matte effect to the superimposed clip.
ADOBE PREMIERE PRO CS3 User Guide 378 4 (Optional) If you’re animating the Remove Matte effect over time, make sure that the current-time indicator is in the position you want. Click the Toggle Animation icon next to the Matte Type setting. 5 Choose either White or Black for the Matte Type setting.
379 Chapter 15: Exporting From making proofs for feedback from your collaborators to generating movies for the web, the Apple iPod, DVD, Blu-ray disc, or videotape, Adobe Premiere Pro provides robust export options that are simple to use.
ADOBE PREMIERE PRO CS3 User Guide 380 Ways to export Adobe Premiere Pro provides two ways to export a file. You can use one of the standard Export commands or you can use the Adobe Media Encoder.
ADOBE PREMIERE PRO CS3 User Guide 381 • Uncompressed Microsoft AVI (Windows only) • Windows Media Video (WMV) (Windows only) Audio-only formats • AIFF-C for 5.
ADOBE PREMIERE PRO CS3 User Guide 382 HD video formats are designated by their vertical resolution, scan mode, and frame or field rate (depending on the scan mode).
ADOBE PREMIERE PRO CS3 User Guide 383 About MPEG MPEG is the name of a family of file formats specified by the ISO/IEC Moving Picture Experts Group. MPEG formats include several compression methods. It requires significant processing power and time to generate these keyframe-based file formats from other video formats.
ADOBE PREMIERE PRO CS3 User Guide 384 Compression tips When you compress video, remember the following recommendations: • Do not recompress video. Recompressing video leads to quality degradation, such as artifacts. Use raw footage or the least compressed footage that is available to you.
ADOBE PREMIERE PRO CS3 User Guide 385 About compression keyframes Compression keyframes are different from the keyframes that you use to control track or clip properties, such as audio volume or clip rotation. Compression keyframes are automatically placed during export at regular intervals in the movie.
ADOBE PREMIERE PRO CS3 User Guide 386 In Adobe Premiere Pro, use the File > Get Properties For command to analyze the data rate of files you export. Choosing formats for use in other applications Adobe Premiere Pro exports to many formats that are readable by other applications.
ADOBE PREMIERE PRO CS3 User Guide 387 Note: You cannot export a movie file into an HDV format file. You can, however, use the Adobe Media Encoder to export a movie into a high-definition MPEG-2 format file. Also, you can export an HDV sequence directly to tape on an HDV device (Windows only).
ADOBE PREMIERE PRO CS3 User Guide 388 Note: Exporting to P2 from stereo sequences, which are the default type used in the various P2 presets, will produce files with two mono tracks with the sequence’s stereo panning preserved. 1 Select the sequence or clip in the Timeline panel or Project panel.
ADOBE PREMIERE PRO CS3 User Guide 389 Select Export Blank Markers to include markers that don’t have information in the fields. (This is useful if you want to preserve the marker only.) 5 In the Export Movie Settings dialog box, select options for your movie.
ADOBE PREMIERE PRO CS3 User Guide 390 When you export still images from DV for use in square-pixel graphics or video, you can prevent distortion by setting the Pixel Aspect Ratio to Square Pixels (1.0) and setting the Frame Size from 720x480 to 640x480 pixels.
ADOBE PREMIERE PRO CS3 User Guide 391 Export a series of still images You can export a clip or sequence, as a sequence of still images, with each frame as a separate still image file.
ADOBE PREMIERE PRO CS3 User Guide 392 When editing a filmstrip in Adobe Photoshop, use the following guidelines for best results: • After Effects and Adobe Premiere Pro display only the part of each frame that lies within the frame border; however, you can paint on the gray lines dividing the frames of the filmstrip without damaging the file.
ADOBE PREMIERE PRO CS3 User Guide 393 To view the PDF, a reviewer must have Adobe Acrobat Standard, Acrobat Professional, or Adobe Reader (version 7.0.5 or later). Adobe Reader is available as a free download from www.adobe.com/go/learn_dv_download_adobereader .
ADOBE PREMIERE PRO CS3 User Guide 394 6 Click OK to export a PDF file for Clip Notes comments. Adobe Clip Notes PDF file as it appears in Adobe Reader See also Sending work for review using Clip Notes Add Clip N otes comments 1 Open the Clip Notes PDF file in Adobe Acrobat Standard, Acrobat Professional, or Adobe Reader (version 7.
ADOBE PREMIERE PRO CS3 User Guide 395 Clip Notes prefixes your comment with the current reviewer name and timecode automatically. You can add your own comment at the same frame as other reviewers; this is especially useful for responding to questions entered in the comment field of a marker.
ADOBE PREMIERE PRO CS3 User Guide 396 Types of DVDs and Blu-ray discs Using Adobe Premiere Pro and Encore, you can create two main types of DVDs or Blu-ray discs: auto-play without menus or menu-based. In the Export To Encore dialog box, choose Direct Burn Without Menus for the first, and Author With Menus for the second.
ADOBE PREMIERE PRO CS3 User Guide 397 7 Highlight the numeral “1” next to Copies and enter a value for the number of copies to be burned. 8 Do one of the following: • Select Entire Sequence if you want the entire sequence burned to disc. • Select Work Area if you want only the part of the sequence under the work area bar burned to disc.
ADOBE PREMIERE PRO CS3 User Guide 398 The Rendering dialog box appears while the movie is transcoded to MPEG-2 format. Then, Encore starts with the MPEG-2 video (M2V) and audio (WAV) files for your movie in the Project panel, and a timeline for your disc in the Timelines panel.
ADOBE PREMIERE PRO CS3 User Guide 399 • If necessary, lower the color depth. This is particularly effective if the source video contains less than the full range of colors (known as 24-bit color, Millions of Colors, or True Color), or if the video will be shown using a monitor or software that displays a limited range of colors.
ADOBE PREMIERE PRO CS3 User Guide 400 Exporting projects for online editing or archiving About exporting projects for online editing or archiving 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.
ADOBE PREMIERE PRO CS3 User Guide 401 • If a clip has a transition at both its In and Out points, the clip should be at least the same length as both transitions combined. • When naming clips and sequences in Adobe Premiere Pro, avoid using special characters, accented characters, or characters that affect the parsing of an XML file.
ADOBE PREMIERE PRO CS3 User Guide 402 Current-time indicator position In the exported file, the current-time indicator retains its original position if it is within the duration of the sequence. Otherwise, the plug-in places the current-time indicator at the end of the Avid Xpress sequence.
ADOBE PREMIERE PRO CS3 User Guide 403 Collect Files and Copy to N ew Location to copy and consolidate the footage you used in the project 3 Select any of the following options, if available. Note: The options that are available depend on whether you selected to trim the project or to collect and copy the project files in step 2.
ADOBE PREMIERE PRO CS3 User Guide 404 Note: If a folder already exists with a name identical to the project you are trimming, Project Manager appends a number to the name. For example, identically-named successive projects may have appendages of “_001, _002, _003, _004,.
ADOBE PREMIERE PRO CS3 User Guide 405 To give your recording deck additional time before your video sequence starts and after it ends, add black before and after the sequence in the Timeline window.
ADOBE PREMIERE PRO CS3 User Guide 406 4 In the Options section, select any of the following options: Abort After Dropped Frames Ends export automatically if a specified number of frames is not exported successfully. Specify the number in the box. Report Dropped Frames Generates a text report alerting you to dropped frames.
ADOBE PREMIERE PRO CS3 User Guide 407 For the production phase, you’ll need to consider the acquisition format that best suits your needs. During post- production, you may need to transfer the source footage to the appropriate format for editing, effects, and sound design (using programs such as Adobe Premiere Pro, After Effects, and Soundbooth).
ADOBE PREMIERE PRO CS3 User Guide 408 Export a file for web delivery You can export a sequence or portion of a sequence into a file in any of the major formats used for transmitting video across the web. 1 Do either of the following: • To export a sequence, select the sequence in the Timeline panel or Program Monitor.
ADOBE PREMIERE PRO CS3 User Guide 409 Alternatively, because Flash can be used to create animations, you can start a movie as a Flash project, export it as a QuickTime file, then import the QuickTime file into Adobe Premiere Pro for editing. In Adobe Premiere Pro, for example, you could add titles or mix the animation with other video sources.
ADOBE PREMIERE PRO CS3 User Guide 410 Adobe Premiere Pro makes several Adobe Flash Video presets available through Adobe Media Encoder. These include preset frame sizes and frame rates for the different television standards at different data rates.
ADOBE PREMIERE PRO CS3 User Guide 411 Alternates and Audiences options for encoding In the Export Settings dialog box, specifying a streaming media codec in RealMedia or Windows Media formats enables Audiences options, while QuickTime streaming media codecs enable a similar set of Alternates options.
ADOBE PREMIERE PRO CS3 User Guide 412 QuickTime Alternates options 1 In the Adobe Media Encoder Export Settings dialog box, specify a QuickTime for Format, and then choose a streaming option from the Preset menu. 2 In the Alternates panel, select any of the following options: Loop Plays the movie in a continuous loop.
ADOBE PREMIERE PRO CS3 User Guide 413 2 In the Audiences panel, specify an option for Output: Compressed Specifies that the codec you select in the Video tab is applied. This is the default setting, and most appropriate for most users. Uncompressed Specifies that no compression is applied.
ADOBE PREMIERE PRO CS3 User Guide 414 If Open In Device Central was selected, a preview of the exported movie will appear in the Device Emulator in Adobe Device Central.
ADOBE PREMIERE PRO CS3 User Guide 415 8 Click OK. 9 Name and save the file. The file is rendered. 10 A temporary file is displayed in the Device Central Emulator tab. To continue testing, double-click the name of a different device in the Device Sets or Available Devices lists.
ADOBE PREMIERE PRO CS3 User Guide 416 • Work at an aspect ratio consistent with mobile output. New project presets (available only on Windows) make this easy.
ADOBE PREMIERE PRO CS3 User Guide 417 Export Settings dialog box A. Source tab B. Output tab C. Source tab menu D. Image Area E. Export Settings F. Video, Audio, and other settings tabs Set the image .
ADOBE PREMIERE PRO CS3 User Guide 418 Export settings presets When exporting with the Adobe Media Encoder, choosing a format automatically makes available a list of associated presets designed for particular delivery scenarios. Selecting a preset, in turn, activates the appropriate options in the various settings panels (Video, Audio, and so on).
ADOBE PREMIERE PRO CS3 User Guide 419 The preset is saved as a .vpr file. Delete custom presets 1 In the Export Settings dialog box, choose the preset you want to delete. 2 Do either of the following: • To delete a single preset, click the Delete Preset button .
ADOBE PREMIERE PRO CS3 User Guide 420 See also “ Export a movie file for further editing ” on page 386 “ Export an audio file for further editing ” on page 389 General export settings The foll.
ADOBE PREMIERE PRO CS3 User Guide 421 that you prepared and saved previously. You can load color palettes in the ACO (Photoshop color swatch), ACT (Photoshop color palette), or PAL (Windows palette—Windows only) format. Note: With the QuickTime file type, you can attach a 256-color palette to a movie of any bit depth.
ADOBE PREMIERE PRO CS3 User Guide 422 Fields Choose an option if required for your final medium. Lower Field First is the default. No Fields is the equiv- alent of progressive scan, which is the correct setting for computer display and motion picture film.
ADOBE PREMIERE PRO CS3 User Guide 423 the audio breaks up when playing, the interleave value may be causing the computer to process audio more frequently than it can handle. Increasing the value lets Adobe Premiere Pro store longer audio segments that need to be processed less often, but higher interleave values require more RAM.
ADOBE PREMIERE PRO CS3 User Guide 424 Filter options for encoding Noise, grain, and similar artifacts can interfere with the efficient compression of images. For this reason, the size of the final output file may in some cases be reduced by applying a noise reduction filter to an image or movie before compression takes place.
ADOBE PREMIERE PRO CS3 User Guide 425 Encoding Passes Specifies the number of times the encoder will analyze the clip before encoding. Multiple passes increase the time it takes to encode the file, but generally result in more efficient compression and higher image quality.
ADOBE PREMIERE PRO CS3 User Guide 426 Adobe Media Encoder MPEG multiplexer preset options Multiplexer preset options control how After Effects and Adobe Premiere Pro merge MPEG video and audio data into a single stream. The exact options available depend on the MPEG format you choose.
427 Chapter 16: Keyboard shortcuts Many commands and buttons have keyboard shortcut equivalents, so you can complete tasks with minimal use of the mouse. You can also create or edit keyboard shortcuts. The default shortcut set is called Adobe Premiere Pro Factory Defaults.
ADOBE PREMIERE PRO CS3 User Guide 428 5 Click in the item’s shortcut field to select it. 6 Type the shortcut you want to use for the item. If the shortcut is already in use, you are told that, if you keep this change, the command that previously used this shortcut will no longer have one.
ADOBE PREMIERE PRO CS3 User Guide 429 Switch to a different set of shortcuts 1 Choose Edit > Keyboard Customization. 2 Choose the set of shortcuts you want to use from the Set pop-up menu.
ADOBE PREMIERE PRO CS3 User Guide 430 Keys for the Capture panel You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below. Keys for the Multi-Camera Monitor You can find most keyboard shortcuts in menu commands and tool tips.
ADOBE PREMIERE PRO CS3 User Guide 431 Keys for the Project panel You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below. Keys for the Timeline You can find most keyboard shortcuts in menu commands and tool tips.
ADOBE PREMIERE PRO CS3 User Guide 432 Clear In point D D Clear selection Backspace Delete Clear Out Point F F Edit audio or video In point or Out point indepen- dently Alt-drag In point or Out point O.
ADOBE PREMIERE PRO CS3 User Guide 433 Play in reverse slowly (8 fps) Hold down K + J Hold down K + J Reveal nested sequence Shift + T Shift + T Ripple delete Alt + Backspace Option + Delete Set In poi.
ADOBE PREMIERE PRO CS3 User Guide 434 Keys for the Titler Result Windows Shortcut Mac O S Shortcut Arc tool A A Decrease kerning by 5 units Alt + Shift + Left Arrow Option + Shift + Left Arrow Decreas.
ADOBE PREMIERE PRO CS3 User Guide 435 Keys for the Trim panel You can find most keyboard shortcuts in menu commands and tool tips. Additional shortcuts appear in the table below.
436 Index N umerics 24p footage playback settings 34 projects 33 timecode 35 3:2 pulldown 33 3GPP cell phones 423 4-Color Gradient effect 326 5.1 surround sound about 182 breaking out to mono clips 19.
437 aspect ratio about 28 frame 28 pixel 24, 30 Audiences encoding settings 411 audio balancing 208, 291 bit depth 422 clipping 185 compressed 78 cross-fading 201 default duration of 201 digitizing 19.
438 brightness adjusting 308 adjusting with Convolution Kernel effect 275 changing in user interface 18 Brightness & Contrast effect 308 Broadcast Colors effect 308 Brush Strokes effect 343 bump l.
439 comments in markers 148 compile settings for AVI export 388 for GIF export 390 compositing about 364, 367 compositions offline, with Adobe Dynamic Link 170 Compound Arithmetic effect 306 Compound Blur effect 303 compressed audio 78 compression about 384 compression keyframes 89, 385, 422 compressor/decompressor.
440 Edit Original command 162 edit points, adding compression keyframes at 422 editing cancelling in Trim Monitor 114 clips in original application 162 deleting space between clips 140 four-point 121 .
441 Filmstrip (FLM) format guidelines for editing 392 Find Edges effect 345 Fit To Fill option. See four-point editing 121 Fixed effects 241 Flanger effect 359 Flash.
442 J J-cut edit 110, 152 JKL keys 98 jog disk 111 K Ken Burns effect 256 kerning 222 keyboard shortcuts about 427 customizing 427 deleting 428 finding 427 in Help 4 switching sets 429 keyframes See a.
443 menu-based DVDs 396 menus context 20 displaying 20 metadata about 383 in MPEG-2 files 383 Meter Input(s) Only command 185 Mirror effect 323 missing files 68 mistakes, correcting 122, 123 mixing au.
444 Paste command and current-time indicator 141 and keyframes 293 Paste Insert command 141 paste insert edit 140 paste overlay edit 140 path text about 220 creating in titles 220 Path Type tool 220 P.
445 renaming Project panel columns 85 tracks 104 render files. See preview files Render Preview command 141 rendering See also previewing about 141 disabling 143 order of effects 241 order of processi.
446 clearing clips 94 display mode 96 In and Out points 106 opening clips 93 playback 96 synchronizing with Timeline panel 98 time controls 94 source tracks 121 Speed property, conversion in After Eff.
447 timecode about 70 display formats 25 entering 72, 102 Offset setting 59 setting manually 72 using in Trim Monitor 111 Timecode effect 354 Timeline panel about 40, 101 audio levels 198 diagonal war.
448 TV, creating and previewing titles for 218 tweening. See keyframes Twirl effect 325 U uncompressed high-definition video 382 uncompressed video playback 27 undo about 122 cancelling edit in Trim M.
449 YCbCr Parade 96 monitor 280 YouTube video 408 Z Zoom In button 103 Zoom tool 103 April 1, 2008.
An important point after buying a device Adobe Premiere Pro CS3 (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 CS3 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 CS3 - thus you can check whether the hardware meets your expectations. When delving into next pages of the user manual, Adobe Premiere Pro CS3 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 CS3 will certainly help you make a decision on the purchase.
If you already are a holder of Adobe Premiere Pro CS3, 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 CS3.
However, one of the most important roles played by the user manual is to help in solving problems with Adobe Premiere Pro CS3. Almost always you will find there Troubleshooting, which are the most frequently occurring failures and malfunctions of the device Adobe Premiere Pro CS3 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
