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[pdf] Adobe Premiere Pro CC Classroom in a Book ( Release) By Maxim Jago - The Adobe Premiere Pro Reference Guide

 

You can also access tutorials from the Home screen by clicking Learn. A different set of tutorials is provided inside Premiere Pro on the Learn panel. Premiere Pro blog: theblog. Creative Cloud tutorials: For inspiration, key techniques, cross-product workflows, and updates on new features, go to the Creative Cloud tutorials page, helpx. Adobe Forums: Tap into peer-to-peer discussions, questions, and answers on Adobe products at forums. Visit the Premiere Pro forum at forums.

Adobe Create: The online magazine Create offers thoughtful articles on design and design issues, a gallery showcasing the work of top-notch designers, tutorials, and more. Check it out at create. Resources for educators: adobe. Find solutions for education at all levels, including free curricula that use an integrated approach to teaching Adobe software and that can be used to prepare for the Adobe Certified Associate exams.

Also, check out these useful sites: Adobe Exchange: www. Adobe Premiere Pro product home page: adobe. A directory of AATCs is available at learning. Understand the standard digital video workflow. Enhance the workflow with high-level features. Check out the workspaces.

Customize workspaces. Set keyboard shortcuts. This lesson will take about 60 minutes to complete. To get the lesson files used in this chapter, download them from the web page for this book at www. Store the files on your computer in a convenient location. Adobe Premiere Pro is a video-editing system that supports the latest technology and cameras with powerful tools that are intuitive to use and that integrate perfectly with almost every video acquisition source.

Despite rapid change in camera systems and the distribution landscape, particularly with the development of highly influential social media, the goal of video editing is the same: You want to take your source footage and shape it, guided by your original vision, so that you can effectively communicate with your audience. Like a word processing application, Premiere Pro lets you place, replace, and move video, audio, and images anywhere you want in your final edited work.

You can edit any part of the sequence in any order and then change the contents or move clips so that they play earlier or later. You can blend layers of video together, change the image size, adjust the colors, add special effects, adjust the audio mix, and more. You can combine multiple sequences and jump to any moment in a video clip or sequence without needing to fast-forward or rewind.

Note The word clip comes from the days of celluloid film editing, where a section of film would be clipped to separate it from a reel. Each stage requires a particular kind of attention and different tools. Also, some projects call for more time spent on one stage than another. Whether you skip through some stages with a quick mental check or spend hours even days!

Acquire your media: This can mean recording original footage, creating new animated content, selecting stock media, or gathering a variety of assets for a project. Ingest the video to your editing storage: With file-based media, Premiere Pro can read the media files directly, usually with no need for conversion.

With tape-based formats, Premiere Pro with the appropriate hardware can convert the video into digital files. For video editing, use fast storage for smooth playback. Organize your clips: Your project may have a lot of video content to choose from. Invest the time to organize clips into special folders called bins in your project. You can add color labels and other metadata metadata is additional information about the clips to help keep things organized.

Create a sequence: Selectively combine the parts of the video and audio clips you want into one or more sequences. Add transitions: Place special transition effects between clips, add video effects, and create composite visuals by placing clips on multiple layers called tracks in the Timeline panel.

Create or import titles, graphics, and captions: Add them to your sequence along with your video clips. Adjust the audio mix: Adjust the volume of your audio clips to get the mix just right, and use transitions and effects on your audio clips to improve the sound.

Output: Export your finished project to a file or videotape. Premiere Pro supports each of these steps with industry-leading tools. A large community of creative and technical professionals is waiting to share their experience and support your development as an editor.

Enhancing the workflow with Premiere Pro Premiere Pro has easy-to-use tools for video editing. It also has advanced tools for manipulating, adjusting, and fine-tuning your projects. You may not make use of all of the following features in your first few video projects. Still, this book will enable you to fully postproduce professional projects and get you ready to take your skills to the next level.

The following topics will be covered: Advanced audio editing: Premiere Pro provides audio effects and editing tools unequaled by any other nonlinear editor. As well as producing a soundtrack mix, you can clean up noisy audio, reduce reverb, make sample-level edits, apply multiple audio effects to audio clips or whole tracks, and use state-of-the-art Virtual Studio Technology VST plug-ins. Color correction and grading: Correct and enhance the look of your footage with advanced colorcorrection filters, including Lumetri, a dedicated color correction and grading panel.

You can make secondary color-correction selections that allow you to adjust isolated colors, adjust selected areas of an image to improve the composition, and automatically match the colors in two images. Keyframe controls: Premiere Pro gives you precise control over the timing of visual and motion effects without using a dedicated compositing or motion graphics application.

Broad hardware support: Choose from a wide range of compatible input and output hardware. GPU acceleration: The Mercury Playback Engine operates in two modes: one that uses only software running in the central processing unit CPU for playback and one that uses graphics processing unit GPU acceleration for enhanced playback performance. GPU acceleration mode requires a graphics card that meets minimum specifications in your workstation.

See helpx. Most modern cards with a minimum of 2 GB of dedicated video memory will work. Multicamera editing: You can quickly and easily edit productions shot with multiple cameras. Multiple camera sources are displayed in a split-view, and you can choose a camera view by clicking the appropriate screen or using shortcut keys. You can automatically sync multiple camera angles based on clip audio or timecode.

Project management: Manage your media using a single dialog box. View, delete, move, search for, and reorganize clips and bins. Consolidate your projects by copying just the media used in sequences to a single location, and then reclaim storage space by deleting unused media files. Metadata: Premiere Pro supports Adobe XMP, which stores additional information about media as metadata that multiple applications can access.

You can use this metadata to locate clips or communicate important information, such as preferred takes or copyright notices. Creative titles: Create titles and graphics with the Essential Graphics panel. You can also use graphics created in almost any suitable software. For instance, you can import Adobe Photoshop files as flattened images or as separate layers that you can combine or animate selectively.

You also can import and adjust Adobe After Effects motion graphics templates. Advanced trimming: Use dedicated trimming tools to make precise adjustments to the start and end of clips in sequences. Premiere Pro provides quick, easy trimming keyboard shortcuts, as well as advanced onscreen trimming tools to make complex timing adjustments to multiple clips.

Media encoding: Export your sequence to create a media file that is perfect for your needs. Use the advanced features of Adobe Media Encoder to create copies of your finished sequence in multiple formats, based on presets or your own detailed specifications. You can apply color adjustments, timing changes, and information overlays during export, as well as upload media to social media platforms in a single step.

Premiere Pro is part of Adobe Creative Cloud, which means you have access to several other specialized tools. Understanding the way these software components work together will improve your efficiency and give you more creative freedom. The software set has everything you need to produce advanced, professionally finished videos.

Adobe After Effects: The popular tool of choice for motion graphics, animation, and visual effects artists. Adobe Character Animator: A tool for creating advanced animation with natural movement for 2D puppets using your webcam for face tracking. Adobe Photoshop: The industry-standard imageediting and graphics-creation product. You can work with photos, video, and 3D objects to prepare them for your project. Adobe Audition: The powerful system for audio editing, audio cleanup and sweetening, music creation and adjustment, and multitrack mix creation.

Adobe Illustrator: Professional vector graphicscreation software for print, video, and the Web. Adobe Media Encoder: A tool that allows you to process files to produce content for any screen directly from Premiere Pro, After Effects, and Audition. Adobe Dynamic Link: A cross-product technology that enables you to work in real time with media, compositions, and sequences shared between After Effects, Audition, and Premiere Pro.

Here are a few scenarios: Use Photoshop to touch up and apply effects to still images and layered image compositions from a digital camera, a scanner, or a video clip.

Then use them as source media in Premiere Pro. Changes made in Photoshop update in Premiere Pro. Send clips directly from the Premiere Pro timeline to Adobe Audition for professional audio cleanup and sweetening. Changes made in Audition update in Premiere Pro. Send an entire Premiere Pro sequence to Adobe Audition to complete a professional audio mix, including compatible effects and level adjustments; the session can contain video so you can compose and adjust levels in Audition based on the action.

Apply special effects, add animation, and add visual elements in After Effects. Adjustments made in After Effects appear in Premiere Pro immediately. Use After Effects to create motion graphics templates that are directly editable in Premiere Pro. Dedicated controls allow specific types of changes to be made while retaining the original look and feel of the template.

Use Adobe Media Encoder to export video projects in multiple resolutions and codecs for display on websites, display via social media, or archiving. You can use the built-in presets, effects, and social media support to upload directly from Premiere Pro to social media platforms. Naturally, most of this book focuses on workflows involving only Premiere Pro. However, sidebars will explain ways to include Adobe Creative Cloud components in your workflows for additional effects work and finishing.

To make it easier to configure the user interface, Premiere Pro includes workspaces. Workspaces quickly configure the various panels and tools onscreen in ways that are helpful for particular activities, such as editing, special effects work, or audio mixing. Next, launch Premiere Pro. The Home screen appears. The first few times you launch Premiere Pro, the Home screen shows links to online training videos that will help you get started.

The Home screen shows links to online training videos when you first start using Premiere Pro. If you have opened projects previously, a list will appear in the middle of the Home screen. You can hover the pointer over a recent item to see the project file location in a pop-up window.

As your list of recent projects gets longer, the links to online training videos are removed to make room for the list. A Premiere Pro project file contains all your creative decisions for a project, links referred to as clips to your selected media files, sequences made by combining those clips, special effects settings, and more.

Premiere Pro project files have the extension. Whenever you work in Premiere Pro, you will be making adjustments to a project file. You need to create a new project file or open an existing one to use Premiere Pro. There are a few important buttons on the Home screen, some of which look like text but can actually be clicked look out for text that works as a button in the Premiere Pro interface : New Project creates a new empty project file. Open Project enables you to open an existing project by browsing your storage drive for the project file.

Home takes you back to this screen if you have clicked Sync Settings or Learn. Sync Settings allows you to synchronize your user settings across multiple computers. Any projects you created with Premiere Rush will be available here, as long as you used the same login as for Premiere Pro.

Try opening an existing project: 1. Click Open Project. In the file navigation dialog box that appears, navigate to the Lessons folder; then double-click the Lesson Leave the file open for the next exercise. After you open an existing project file, a dialog box may open asking where a particular media file is.

Select Locate, at the bottom right. Premiere Pro will locate the missing file and highlight it on the right side of the window. Select the file, and click OK. Premiere Pro will remember this location for other missing files and relink them automatically without your needing to link each one individually. With Lesson Save a copy of the project with the name Lesson 01 Working. This project contains a number of video clips. Note Unlike other panels, the Timeline panel does not include its own name in its heading.

Instead, the name of the current sequence is shown. This works the same way as the playhead when viewing video files in a player. Drag the playhead to the far left of the Timeline panel. Press the spacebar to play the current sequence.

The Program Monitor top-right corner of the Premiere Pro interface displays the contents of the sequence. In the lower-left corner of the Premiere Pro interface, you will find the Project panel, which contains clips and other assets associated with the current project. The panel name includes the current project name, Project: Lesson 01 Working. The lower-left corner of the Project panel holds a series of buttons that you use to select different ways of viewing the contents of the panel.

Icon View makes it easier to identify clips based on their contents. Drag the clip with the name JD. Be sure to drag it by the thumbnail image and not the clip name. Release the new clip at the end of the existing series of clips already in the Timeline panel. Scroll down in the Project panel and find several more clips of your choice to add to the sequence.

Drag each one into the sequence. At any time, you can position the Timeline playhead at the beginning of the sequence at its left end , and use the spacebar to start and stop playback. When you have finished adding several clips to the sequence, play through it to see the result. You can place the Timeline playhead anywhere and play from that moment. There is one item you will not be able to drag from the Project panel into the sequence: the sequence itself, called Desert Montage.

The Project panel contains both clips and sequences. You can have as many sequences as you like in a project, and they are identifiable by the icon in the lower-right corner of the clip thumbnail , which shows multiple clips combined. You edited a sequence! Exploring workspaces The Premiere Pro interface is divided into panels. Each panel has a particular purpose.

For example, the Effects panel lists all the effects available for you to apply to clips, while the Effect Controls panel gives you access to the settings for those effects. A workspace is a preset arrangement of panels, organized to make particular tasks easier. Every panel is accessible from the Window menu, but workspaces are a quicker way to access several panels and have them laid out exactly as you need them, in a single step.

Then, to reset the Editing workspace, click the small panel menu icon next to the Editing option on the Workspaces panel, and choose Reset To Saved Layout. Notice the various workspace names displayed in the Workspaces panel.

Things become simpler when you know what the buttons are for. The interface is designed to make video editing easy, so commonly used controls are immediately accessible. Workspaces consist of panels, and you can save space by gathering several panels into a panel group. The names of all the panels in the group are displayed across the top. When many panels are combined, you may not be able to see all their names. If this is the case, a list of all the panels in the group becomes available.

Click the chevron in the upper-right corner of the panel group to access a panel. The principal elements are shown here. Some of the important interface elements include: Project panel: This is where you organize your clips these are the links to your media files , sequences, and graphics in bins. Bins are similar to folders—you can place one bin inside another for more advanced organization of your project.

You view and work on sequences the term for video segments edited together in the Timeline panel. One feature of sequences is that you can nest them place one sequence inside another sequence. Combining sequences this way, you can break up a production into manageable chunks or create unique special effects. Tracks: You can layer—or composite—video clips, images, graphics, and titles on an unlimited number of tracks. Video and graphic clips on upper video tracks cover whatever is directly below them on the timeline.

Therefore, you need to give clips on higher tracks some form of transparency or reduce their size if you want clips on lower tracks to show. Monitor panels: Use the Source Monitor on the left to view and select parts of clips your original footage.

To view a clip in the Source Monitor, doubleclick its icon in the Project panel. The Program Monitor on the right shows the contents of your current sequence, displayed in the Timeline panel.

Media Browser: This important panel allows you to browse your storage to find media to import into your project. Libraries: This panel gives access to custom Lumetri color Looks, motion graphics templates, graphics, and shared libraries for collaboration. It also acts as a browser and store for the Adobe Stock service. For more information, go to helpx.

Effects panel: This panel contains most of the effects you will use in your sequences, including video filters, audio effects, and transitions. Once applied, the controls for these effects are displayed in the Effect Controls panel. Effect Controls panel: This panel displays the controls for any effects applied to a clip you select in a sequence or open in the Source Monitor or Project panel. If you select a visual clip in the Timeline panel, Motion, Opacity, and Time Remapping controls are automatically available.

Most effect settings are adjustable over time. Audio Clip Mixer: This panel is based on audio production studio hardware, with volume sliders and pan controls. There is one set of controls for each audio track on the timeline. The adjustments you make are applied to audio clips. Tools panel: Each icon in this panel gives access to a tool that performs a specific function in the Timeline panel. The Selection tool is context-sensitive, which means it changes function depending on where you click.

Several tools have a small triangle icon, indicating a menu of additional tools. Press and hold on one of these tools to see the menu of options. Info panel: The Info panel displays information about any item you select in the Project panel or any clip or transition you select in a sequence.

History panel: This panel tracks the steps you take and lets you easily undo a series of changes. When you select a previous step, all steps that followed it are also undone. Most panels display their name at the top. When a panel is displayed, the name is underlined, and the panel is outlined in blue.

Most panels have a menu next to the name with options particular to that panel. Using the Learning workspace Although other workspaces are intended to facilitate a particular creative activity, the Learning workspace is an exception. This workspace includes the Learn panel, which offers tutorials to help you build familiarity with the Premiere Pro interface and learn important skills. You will find the tutorials complement the exercises in this book well, and you may find it helpful to practice first with this book and then explore the relevant tutorials to reinforce the lessons you have learned.

Customizing a workspace In addition to choosing between the default workspaces, you can adjust the position and location of panels to create a workspace that works best for you. You can create multiple workspaces for different tasks. As you change the size of a panel or panel group, other panels change size to compensate. Every panel within a panel group is accessible by clicking its name. All panels are movable—you can drag a panel from one group to another.

You can drag a panel out of a group to become a separate floating panel. You can double-click the name of any panel to toggle it between full screen and its original size. In the Project panel, double-click the icon for the clip AO. Be careful to double-click the icon and not the name, as clicking the name selects the text, making it ready for renaming. Position your pointer on the vertical divider between the Source Monitor and the Program Monitor.

Drag left and right to change the sizes of those panels. You can choose to have different sizes for your video displays, which is useful at different stages of post-production. Now place the pointer on the horizontal divider between the Program Monitor and the Timeline panel.

Drag up and down to change the sizes of these panels. Click the name of the Media Browser panel at its top , and drag it to the middle of the Source Monitor until a blue rectangle appears the drop zone. Release the Media Browser panel to dock it in that panel group. The drop zone is displayed as a center highlight. Drag the Effects panel which is grouped with the Project panel by default by its name to a point just inside the right edge of its current panel group until a blue trapezoid-shaped area the drop zone is highlighted.

Release the Effects panel; it is now alone in its own panel group. When you drag a panel by its name, a drop zone is displayed. If the drop zone is a trapezoid, it will create a new panel group. You can also pull panels into their own floating windows. Note You may need to resize a panel to see all of its controls. Drop the Source Monitor anywhere, creating a floating panel. You can resize the panel by dragging a corner or a side. As you gain experience, you might want to create and save the layout of your panels as a customized workspace.

Type a name, and click OK. Now, to return to a recognizable starting point, choose the preset Editing workspace, and reset it. Premiere Pro has several types of settings. For example, panel menus , which are accessible by clicking the menu button next to a panel name, have options that relate to each panel, while individual clips in a sequence have settings you can access by rightclicking them. The panel name, displayed at the top of each panel, is often referred to as the panel tab.

This is the area of a panel you use to move the panel, almost like a handle you can grab the panel by. There are also application-wide user preferences, which are grouped into a single dialog box for easy access.

Preferences will be covered in depth as they relate to the individual lessons in this book. Drag the Brightness slider to the right to suit your preference.

The default brightness is a dark gray to help you see colors correctly human perception of color is influenced by surrounding colors. There are additional options for controlling the brightness of interface highlights. Experiment with the Interactive Controls and Focus Indicators brightness sliders. The difference in the onscreen sample is subtle, but adjusting these sliders can make quite a big difference to your editing experience. Set all three settings to Default by clicking the Default buttons when you have finished.

Switch to the Auto Save preferences by clicking Auto Save on the left. Imagine if you had worked for hours and then there was a power outage. With these options, you can decide how often you would like Premiere Pro to save an automated backup of your project file and how many versions you would like to keep in total.

Auto Save backups have the date and time they were created added to the filename. Note Premiere Pro allows you to open multiple projects at the same time.

This option creates an additional backup of your project file in your Creative Cloud Files folder. If you suffer a total system failure while working, you can log in to any Premiere Pro editing system with your Adobe ID to access the backup project file and quickly carry on working. If you have a sudden system failure like a power outage , this is the file you will most likely want to open to continue working.

Click Cancel to close the Preferences dialog box without applying any changes. These are usually faster and easier than clicking—once you know them. Several keyboard shortcuts are shared universally by nonlinear editing systems.

The spacebar, for example, starts and stops playback—this even works on some websites. Some standard keyboard shortcuts come from celluloid film-editing traditions.

The I and O keys, for example, are used to set In and Out points for footage and sequences: These special marks indicate the start and end of a desired section and were originally drawn on celluloid directly.

Many shortcuts are available, but not all are assigned a key by default. This allows flexibility when setting up your editing system.

It can be a little daunting to see the number of keyboard shortcuts available, but by the end of this book you will recognize most of the options displayed here. Some keyboard shortcuts are specific to individual panels.

Open the Commands menu at the top of the dialog box, and choose the name of a panel to create or edit shortcuts for that panel.

Specialized keyboards are available with shortcuts printed on them and color-coded keys. These make it easier to remember commonly used shortcuts. The keyboard shortcut display updates to show the results of combining the modifier key with the character keys.

Notice there are many keys without shortcuts assigned when you use a modifier key. These are available for you to assign your own shortcuts. You can set keyboard shortcuts with any combination of modifier keys. If you press a character key, or character and modifier key combination, that particular shortcut information is displayed. To change a keyboard shortcut do one of the following: 1.

Having found an option you would like to assign to a key, drag it from the list onto the key you would like to use in the upper part of the dialog box. To remove a shortcut, click the key, and choose Clear at the bottom right. For now, click Cancel. Close the project file and save any changes. Moving, backing up, and syncing user settings User preferences include a number of important options. For example, you might prefer the interface to be brighter than the default. Premiere Pro includes the option to share your user preferences between multiple computers: When installing Premiere Pro, you will enter your Adobe ID to confirm your software license.

You can use the same ID to store your user preferences in Creative Cloud, allowing you to synchronize and update them from any installation of Premiere Pro. You can sync your preferences while on the Home screen by choosing Sync Settings. If a dialog box appears asking if you would like to save changes you have made, click Yes.

Why is Premiere Pro considered a nonlinear editor? Describe the basic video-editing workflow. What is the Media Browser used for? Can you save a customized workspace? What is the purpose of the Source Monitor and the Program Monitor?

How can you drag a panel to its own floating panel? Premiere Pro lets you place video clips, audio clips, and graphics anywhere in a sequence; rearrange items already in a sequence; add transitions; apply effects; and do any number of other video-editing steps in any order that suits you. Transfer media to your computer; create a sequence by combining video, audio, and still-image clips in the Timeline panel; add effects and transitions; add text and graphics; mix your audio; and export the finished product as a video file.

The Media Browser allows you to browse and import media files without having to open an external file browser. You can view and select part of your original footage in the Source Monitor and use the Program Monitor to view the contents of the current sequence displayed in the Timeline panel.

Choose video rendering and playback settings. Choose video and audio display settings. Create scratch disks. Use sequence presets. Customize sequence settings. You will not need any of the downloadable lesson files. Luckily, Adobe Premiere Pro gives you easy shortcuts. To help you plan and manage your projects, this lesson contains information about formats and video technology.

You may decide to revisit this lesson later, as your familiarity with Premiere Pro and nonlinear video editing develops. A Premiere Pro project file stores links to all the video, graphic, and sound files you have imported. Each item is displayed in the Project panel as a clip. The name clip originally described a section of celluloid film lengths of film were literally clipped to separate them from a roll , but these days the term refers to any item in the project, regardless of the type of media.

You could have an audio clip or an image sequence clip, for example. Clips displayed in the Project panel appear to be media files, but they are actually only links to those files. You can delete one without affecting the other more on this later. When working on a project, you will create at least one sequence—that is, a series of clips that play, one after another, sometimes overlapping, with special effects, titles, and sound, to form your completed creative work.

The beauty of nonlinear editing with Premiere Pro is that you can change your mind about almost anything, at any time. Premiere Pro project files have the file extension. Starting a new project is straightforward. You create a new project file, import media, choose a sequence preset, and start editing. To speed things up, you can use a sequence preset to choose the settings and then make adjustments if necessary. You need to know the kind of video and audio your camera records because your sequence settings will usually be based on your source footage to minimize conversion during playback.

In fact, most Premiere Pro sequence presets are named after cameras to make it easier to choose the correct option. Launch Premiere Pro. You should see Lesson Notice that you can thin out the list of recent project files by typing some text into the Filter text box, where it says Filter Recent Files—only project files whose filenames contain the text will be displayed. There are a couple of other items in this window: 1. Magnifying glass button: Click the magnifying glass at the top right of the Home screen to open a multipurpose Search screen.

You must be connected to the Internet to access the tutorials. User button: Next to the magnifying glass is a thumbnail of your Adobe ID profile picture. If you have just signed up, this may be a generic thumbnail. Click the button to manage your Creative Cloud account online. Click New Project to open the New Project dialog box. Below the new project name and file location fields, this dialog box has three tabs: General, Scratch Disks, and Ingest Settings.

Click in the Name box, and name your new project First Project. Note When choosing a location for your project file, you may want to choose a recently used location from the Location menu.

Click Browse, and browse to the Lessons folder. Click Choose to establish this new folder as the location for the new project. Click OK to create your new project.

Just like media files, sequences have settings that specify such things as the frame rate and image size. This is called conforming.

Each sequence in your project can have different settings. Matching the settings reduces the work your system must do to play your clips, improving real-time performance, and maximizes quality. If the first clip you add to a sequence does not match the settings of your sequence, Premiere Pro checks if you would like to change the sequence settings automatically to fit.

Premiere Pro can work natively with a wide range of video and audio formats and codecs and will often play mismatched formats smoothly. However, when Premiere Pro has to adjust video for playback because of mismatched sequence settings, your editing system must work harder to play the video, and this will impact real-time performance you might see more dropped frames.

Note The Preset Description area of the Sequence Presets tab often describes the kind of camera used to capture media in this format. The essential factors are always the same: the number of frames per second, the frame size the number of pixels in the picture horizontally and vertically , and the audio format. If you were to turn your sequence into a media file without applying a conversion, then the frame rate, audio format, frame size, and so on, would all match the settings you chose when creating the sequence.

Premiere Pro can create a sequence based on your clip. Use this menu to create new items for your project, including sequences, captions, and color mattes full-screen color graphics useful for backgrounds. To automatically create a sequence that matches your media, drag any clip or multiple clips in the Project panel onto the New Item menu.

A new sequence will be created with the same name as the first clip selected, and a matching frame size and frame rate. You can also select one or more clips, right-click the selection, and choose New Sequence From Clip. Using this method, you can be confident your sequence settings will work with your media. If the Timeline panel is empty, you can also drag a clip or multiple clips into it to create a sequence with matching settings. Choosing the correct preset If you do know the settings you need for a new sequence, you can configure the sequence settings exactly.

Click the New Item button at the lower-right corner of the Project panel now and choosef When you choose a preset, Premiere Pro applies settings for the new sequence that closely match a particular video and audio format. After choosing a preset, you can adjust these settings on the Settings tab if necessary. These settings are organized based on camera formats with specific settings inside a folder named after the recording format.

You can click the disclosure triangle to see specific formats in a group. These are typically designed around frame rates and frame sizes. Click the disclosure triangle next to the group Digital SLR. You can now see three subfolders, based on frame sizes. Remember that video cameras can often shoot video using different frame sizes, as well as different frame rates and codecs. Click the disclosure triangle next to the p subgroup.

Choose the DSLR p30 preset by clicking its name. For this sequence, use the default settings. Take a moment to familiarize yourself with the description displayed on the right. Click in the Sequence Name box, and name your sequence First Sequence. Click OK to create the sequence. You have made a new project and sequence with Premiere Pro.

Formats and codecs A format is a frame rate, frame size, audio sample rate, and so on. Codec is a shortening of the words coder and decoder. The media file is referred to as the wrapper, and the video and audio inside the file, stored using a codec, are sometimes referred to as the essence. Tip You created a new sequence using the File menu this time. There are often several ways to achieve the same goal in Premiere Pro. Choose the DSLR p30 preset again by clicking its name.

This lets you view the settings while reading about them. Click Settings at the top of the dialog box. Premiere Pro will automatically conform footage you add to your timeline so that it matches your sequence settings, giving you a standard frame rate and frame size, regardless of the original clip format. This makes the sequences settings a critical part of your project configuration. Creating a sequence preset Although the standard presets usually work, you may sometimes need to create a custom preset.

To do so, first choose a sequence preset that matches your media closely, and then make custom selections in the Settings and Tracks areas of the New Sequence dialog box. Having adjusted the settings, you can save your custom preset for future use by clicking the Save Preset button near the bottom of the Settings area. When you save a preset, you can give your customized project settings preset a name in the Save Settings dialog box, add notes if you want, and click OK.

The preset will appear in a Custom folder with the other sequence presets. The new sequence is intended for online distribution only, so change this to 30 fps to accurately measure playback speed. Tip For now, leave the settings as they are, but review the way the preset configures the new sequence. Look at each setting from top to bottom to build familiarity with the choices required to configure a sequence. For complete flexibility, choose Custom from the Editing Mode menu.

For many effects, this means bit floating-point color, which allows for trillions of color combinations. This is the best possible quality for your effects but is more work for your computer, so you may get lower performance in real-time playback. Without this option, you might see minor artifacts or noise in the picture when making images smaller. Both of these options can be turned off or on at any time, so you can edit without them to maximize performance and then turn them on when you output your finished work.

Even with both options enabled you can use real-time effects and expect good performance from Premiere Pro. Tracks are horizontal areas in the Timeline panel that hold clips in a particular position in time. There is more than one video track, and video clips placed on an upper track will appear in front of clips on a lower track.

The Tracks tab in the New Sequence dialog box allows you to preselect the track types for the new sequence. This is perhaps most useful when creating a sequence preset with names already assigned to audio tracks.

All audio tracks are played at the same time to create a complete audio mix. To create a mix, simply position your audio clips on different tracks, lined up in time. Narration, sound bites, sound effects, and music can be organized by putting them on different tracks. You can also rename tracks, making it easier to find your way around more complex sequences.

Premiere Pro lets you specify how many video and audio tracks will be included when the sequence is created. For now, choose Stereo. An audio track can be one of several types. Each track type is designed for specific types of audio clip. When you choose a particular track type, Premiere Pro shows the right controls to make adjustments to the sound, based on the number of audio channels in the track.

For example, stereo clips need different controls than 5. The types of audio tracks are: Standard: These tracks are for both mono and stereo audio clips. Adaptive: Adaptive tracks are for mono, stereo, or multichannel audio and give you precise control over the output routing for each audio channel. For example, you could decide the track audio channel 3 should be output to your mix in channel 5. This workflow is used for multilingual broadcast TV, where precise control of audio channels is used at the point of transmission.

Mono: This track type will accept only mono audio clips. The Submix options available in the Track Type menu are used in advanced audio mixing workflows. Premiere Pro makes sure clips go to the right kind of track.

You will usually configure the project settings when creating the new project, but all of the options can be modified at any time. Some special effects can be played immediately, combining your original video with the effect and displaying the results as soon as you click Play. Real-time playback is desirable because it means you can watch the results of your creative choices right away, staying in your creative flow without waiting.

If you use lots of effects on a clip or if you use effects that are not designed for real-time playback, your computer may not be able to display the results at the full frame rate. That is, Premiere Pro will attempt to display your video clips, combined with the special effects, but it will not show every single frame each second. Premiere Pro displays colored lines along the top of the Timeline panel, where you build sequences, to tell you when extra work is required to play back your video.

No line, a green line, or a yellow line means Premiere Pro expects to be able to play without dropping frames. A red line means Premiere Pro may drop frames when playing that section of the sequence. Real-time playback can make a difference to your editing experience and your ability to preview the effects you apply with confidence.

If frames are being dropped, there is a simple solution: preview rendering. When you render, Premiere Pro creates new media files that look like the results of your effects work and then plays back those files in place of the original footage. The rendered preview is a regular video file, so playback is at reasonable quality and full frame rate, without your computer having to do any extra work.

You render effects in a sequence by choosing a render command from the Sequence menu. Many menu items display a keyboard shortcut on the right. What do rendering and real time mean? As something is visualized, it takes up paper and takes time to draw. Imagine you have a piece of video that is too dark. You add a visual effect to make it brighter, but your video-editing system is unable to both play the original video and make it brighter at the same time.

When your edited sequence plays, sections that are rendered display the newly rendered video file instead of the original clip or clips. The process is invisible and seamless. In this example, the rendered file would look like the original video file but brighter.

When the part of your sequence with the brightened clip is finished, your system invisibly and seamlessly switches back from playing the preview file to playing the other original video files in the sequence.

The downside of rendering is that it takes up extra space for media storage, and it takes time. The upside with rendering is that you can be confident your system will be able to play the results of your effect at full quality, with all the frames per second.

Real-time playback, by contrast, is immediate! When using a real-time special effect, your system plays the original video clip combined with the special effect right away, without waiting for the effect to render. The only limitation with real-time performance is that the amount you can do without rendering depends on how powerful your system is.

More effects are more work to play back, for example. Back in the Project Settings dialog box, in the Video Rendering And Playback settings, if the Renderer menu is available, it means you have graphics hardware in your computer that meets the minimum requirements for GPU acceleration and it is installed correctly.

The menu has two types of setting you will choose between: Mercury Playback Engine GPU Acceleration: If you choose this rendering option, Premiere Pro will send many playback tasks to the graphics hardware on your computer, giving you lots of real-time effects and smooth playback of mixed formats in your sequences. Performance can vary and some graphics hardware configurations allow multiple types of acceleration, so you may need to experiment to find the best option for your system. You may also see an option described as deprecated in the Renderer menu.

This uses an approach to hardware acceleration that will work but is less efficient than the other options. You will almost certainly want to choose GPU acceleration and benefit from the additional performance if you can. However, if you experience performance or stability issues using GPU acceleration, choose the Software Only option in this menu. You can change these options at any time— including in the middle of working on a project.

Playback performance: Premiere Pro plays back video files with great efficiency, even when working with the types of video that are difficult to play back, such as H. The results are even better performance and responsiveness when working with sequences, and many special effects will play in real time, without dropping frames. For more information about supported graphics cards, see helpx. Setting the video and audio display formats The next two areas of the General tab in the Project Settings dialog box allow you to choose how Premiere Pro should measure time for your video and audio clips.

The correct choice for a given project largely depends on whether you are working with video or celluloid film as your source material. The choices are as follows: Timecode: This is the default option. Timecode is a universal system for counting hours, minutes, seconds, and individual frames of video. The same system is used by cameras, professional video recorders, and nonlinear editing systems around the world.

This system counts the number of feet plus the number of frames since the last foot. Frames: This option counts the number of frames of video. This is sometimes used for animation projects.

For now, leave Video Display Format set to Timecode. The Audio Display Format menu For audio files, time can be displayed as samples or milliseconds. Audio Samples: When digital audio is recorded, the sound level technically, air pressure level as captured by the microphone is sampled thousands of times a second.

In the case of most professional video cameras, this happens at least 48, times per second. When playing clips and sequences, you can choose to display time as hours, minutes, seconds, and frames, or as hours, minutes, seconds, and samples. Milliseconds: With this mode chosen, time can be displayed as hours, minutes, seconds, and thousandths of a second instead of samples. By default, you can zoom the Timeline enough to view individual sequence clip segment frames.

However, you can easily switch to showing the audio display format instead. This powerful feature lets you make the tiniest adjustments to your audio. About seconds and frames When a camera records video, it captures a series of still images of the action. When it captures enough images each second, the result looks like moving video during playback.

Each picture is called a frame, and the number of frames each second is usually called frames per second fps , or the recording or playback frame rate. It could be any number, including Most cameras allow you to choose between more than one frame rate and more than one frame size. However, there may be times you need to capture from videotape.

The Capture Format menu under Capture in the Project Settings dialog box tells Premiere Pro what videotape format you are using when capturing video to your storage drive.

Capturing from third-party hardware If you have additional third-party hardware installed, you can connect your video deck for capture. Note The Mercury Playback Engine can share performance with video input and output hardware for playback, thanks to a feature called Adobe Mercury Transmit.

The software installer will usually discover Premiere Pro on your computer, automatically adding extra options to this menu and to others. Follow the directions provided with your third-party equipment to configure new Premiere Pro projects. For more information about the video-capture hardware and video formats supported by Premiere Pro, visit helpx. Ignore this setting for now because you will not be capturing from a tape deck in this lesson, and you can change the setting as needed later.

With this option selected, when you change name of a clip, or the color of the label assigned to a clip, all copies of the clip used anywhere in the project will update accordingly. If this option is not selected, only the copy you select will be changed. Both options can be useful, depending on your chosen workflow for a particular project.

Leave this deselected for now, and click the Scratch Disks area to view the options. Setting up the scratch disks Whenever Premiere Pro captures records video from tape, renders special effects, saves backup copies of the project file, downloads content from Adobe Stock, or imports animated motion graphics templates, or whenever you record a voiceover, new files are created.

The various scratch disks are the locations where these files are stored. Though they are described as disks, they are actually folders. Some of the files that are stored will be temporary, and some will be new media created in Premiere Pro or imported. Scratch disks can be stored on physically separate disks, as the name suggests, or in any subfolder on your storage.

Scratch disks can be located all in the same place or in separate locations, depending on your hardware and workflow requirements. There are generally two approaches to storage for video editing: Project-based setup: All associated media files are stored with the project file in the same folder. This is the default option for scratch disks and the simplest to manage. System-based setup: Media files associated with multiple projects are saved to one central location often high-speed network-based storage , and the project file is saved to another location.

This might include storing different kinds of media files in different locations. To change the location of the scratch disk for a particular type of data, choose a location from the menu next to the data type. The choices are: Documents: Stores the scratch disk in the Documents folder in your system user account.

Same As Project: Stores the scratch disk with the project file. This is the default option. This option is automatically chosen if you click Browse and choose a specific location for the scratch disk. Below each Scratch Disk location menu, a file path shows the current setting and the disk space available at that location. Your scratch disks might be stored on local hard drives or on a network-based storage system; any storage location your computer has access to will work.

However, the speed and responsiveness of your scratch disks can have a big impact on both playback and rendering performance—choose fast storage if possible. However, you can easily switch to showing the audio display format instead. This powerful feature lets you make the tiniest adjustments to your audio.

About seconds and frames When a camera records video, it captures a series of still images of the action. If there are enough images captured each second, it looks like moving video when played back. Each picture is called a frame, and the number of frames each second is usually called frames per second fps or the recording or playback frame rate.

It could be any number, including Most cameras allow you to choose between more than one frame rate and more than one frame size. However, there may be times you need to capture from videotape. The Capture Format menu under Capture in the New Project dialog box tells Premiere Pro what videotape format you are using when capturing video to your storage drive.

Note The Mercury Playback Engine can share performance with video input and output hardware for playback, thanks to a feature called Adobe Mercury Transmit. If you have additional hardware, you should follow the directions provided by the manufacturer to install it.

The software installer will usually discover Premiere Pro on your computer, automatically adding extra options to this menu and to others. Ignore this setting for now because you will not be capturing from a tape deck in this exercise, and you can always change the setting as needed later. If this option is not selected, only the copy you select will be changed. Both options can be useful, depending on your chosen workflow for a particular project.

Leave this deselected for now, and click the Scratch Disks area to view the options. Setting up the scratch disks Existing media files are imported from wherever they are currently stored. However, whenever Premiere Pro captures records video from tape, renders special effects, saves backup copies of the project file, downloads content from Adobe Stock, or imports animated motion graphics templates, new files are created on your hard drive. The various scratch disks are the locations these files are stored.

Though they are described, here, as disks, they are actually folders. Some of the files that are stored will be temporary, while some will be new media created in Premiere Pro or imported. Scratch disks can be stored on physically separate disks, as the name suggests, or any subfolder on your storage. Scratch disks can be located all in the same place or in separate locations, depending on your hardware and workflow requirements.

This might include storing different kinds of media files in different locations. The choices are as follows: Documents to store the scratch disk in the Documents folder in your system user account.

Below each Scratch Disk location menu, a file path shows the current setting and the disk space available at that location. However, the speed of your scratch disks can have a big impact on both playback and rendering performance, so choose fast storage if possible.

Using a project-based setup By default, Premiere Pro keeps newly created media together with the associated project file this is the Same As Project option. Keeping everything together this way makes finding relevant files simple. It also makes it easier to stay organized if you move media files into the same folder before you import them into the project. Others choose to store their capture folders and preview folders in a different location from their project. This is slower and more complex when your media files are distributed across multiple storage locations.

Some storage systems use local computer networks to share storage between multiple systems. If this is the case for you, check with your system administrators to make sure you have the right settings and check performance. Setting up a Project Auto Save location In addition to choosing where new media files are created, you can set the location to store automatically saved project files. These are additional backup copies of your project file that are created automatically while you work.

Storage drives occasionally fail, and you may lose files stored on them without warning. In addition to storing automatically saved project files in the location you choose, Premiere Pro can store a backup of your most recent project file in your Creative Cloud Files folder.

This folder is created automatically when you install Adobe Creative Cloud. It allows you to access files in any location where Creative Cloud is installed and you are logged in. Collaborators on a project can use the Creative Cloud Files folder to store and share standard assets like logos or graphic elements. Use the Libraries panel in Premiere Pro to access these files.

When you add items to the current project in this way, Premiere Pro will create a copy of them in the scratch disk location you choose here. When you import a motion graphics template into the current project, a copy will be stored in the location you choose. For this project, leave all your scratch disks set to the default option: Same As Project. Choosing ingest settings Professional editors describe adding media to a project as importing or ingesting.

The two words are often used interchangeably but actually have different meanings. When you import a media file into a Premiere Pro project, a clip is created that is linked to the original file. In the Ingest Settings area, you can enable the Ingest option, and choose what to do with media files before they are imported.

Note There are several ways to import clips into a project. Once ingest options are enabled, they are applied regardless of the import method you use. Copy them to a new storage location—useful if you want to be sure all your media is in one folder.

Now that you have checked that the settings are correct for this project, click OK to finish creating it. Sequences have settings, just like media files, that specify things like the frame rate and image size. This is called conforming. Each sequence in your project can have different settings. If the first clip you add to a sequence does not match the settings of your sequence, Premiere Pro checks if you would like to change the sequence settings automatically to fit.

Premiere Pro can create a sequence based on your clip. To automatically create a sequence that matches your media, drag any clip or multiple clips in the Project panel onto the New Item menu.

A new sequence will be created with the same name as the clip and a matching frame size and frame rate. Using this method, you can be confident your sequence settings will work with your media. If the Timeline panel is empty, you can also drag a clip or multiple clips into it to create a sequence with matching settings. Choosing the correct preset If you do know the settings you need, you can configure the sequence settings exactly.

The Sequence Presets tab makes setting up a new sequence easier. When you choose a preset, Premiere Pro applies settings for the new sequence that closely match a particular video and audio format.

After choosing a preset, you can adjust these settings on the Settings tab if necessary. These settings are organized based on camera formats with specific settings inside a folder named after the recording format. You can click the disclosure triangle to see specific formats in a group. These are typically designed around frame rates and frame sizes.

Click the disclosure triangle next to the group Digital SLR. You can now see three subfolders, based on frame sizes.

Remember that video cameras can often shoot video using different frame sizes, as well as different frame rates and codecs. Click the disclosure triangle next to the p subgroup. Choose the DSLR p30 preset by clicking its name. For this sequence, use the default settings.

Take a moment to familiarize yourself with the description. Click in the Sequence Name box, and name your sequence First Sequence. Click OK to create the sequence. You have made a new project and sequence with Premiere Pro. Formats and codecs Video and audio files have a particular format, that is, a frame rate, frame size, audio sample rate, and so on. Codec is a shortening of the words coder and decoder. The media file is referred to as the wrapper, and the video and audio inside the file are sometimes referred to as the essence.

Premiere Pro can work natively with a wide range of video and audio formats and codecs and will often play back mismatched formats smoothly.

The essential factors are always the same: the number of frames per second, the frame size the number of pixels in the picture horizontally and vertically , and the audio format. If you were to turn your sequence into a media file without applying a conversion, then the frame rate, audio format, frame size, and so on, would all match the settings you chose when creating the sequence. Choose the DSLR p30 preset again by clicking its name.

The detailed settings are accessible by clicking the Settings tab in the New Sequence dialog box. Remember, Premiere Pro will automatically conform footage you add to your timeline so that it matches your sequence settings, giving you a standard frame rate and frame size, regardless of the original clip format. Tip For now, leave the settings as they are, but review the way the preset is going to configure the new sequence. Look at each setting from top to bottom to build familiarity with the choices required to configure a sequence.

If you are not intending to broadcast your video this way but instead intend to distribute your creative work online, you may as well change this to 30 fps to accurately measure playback duration. To do so, first choose a sequence preset that matches your media closely and then make custom selections in the Settings and Tracks areas of the New Sequence dialog box. Having adjusted the settings, you can save your custom preset for future use by clicking the Save Preset button near the bottom of the Settings section.

If you save a preset, you can give your customized project settings preset a name in the Save Settings dialog box, add notes if you want, and click OK. The preset will appear in a Custom folder under Sequence Presets. For complete flexibility, change the Editing Mode menu to Custom.

Without this option, you might see minor artifacts or noise in the picture when making images smaller. Without GPU acceleration, this option will impact playback performance and file export times. Both of these options can be turned off or on at any time, so you can edit without them to maximize performance and then turn them on when you output your finished work. Tracks are horizontal areas in the Timeline panel that hold clips in a particular position in time.

If you have more than one video track, any video clips placed on an upper track will appear in front of clips on a lower track.

The Tracks tab in the New Sequence dialog box allows you to preselect the track types for the new sequence. This is perhaps most useful when creating a sequence preset with names already assigned to audio tracks. All audio tracks are played at the same time, creating a complete audio mix. To create a mix, simply position your audio clips on different tracks, lined up in time. Narration, sound bites, sound effects, and music can be organized by putting them on different tracks.

You can also rename tracks, making it easier to find your way around more complex sequences. Premiere Pro lets you specify how many video and audio tracks will be included when the sequence is created. For now, choose Stereo. An audio track can be one of several types. Each track type is designed for specific types f audio. When you choose a particular track type, Premiere Pro gives you the right controls to make adjustments to the sound, based on the number of audio channels in the track.

For example, stereo clips need different controls than 5. The types of audio tracks are as follows: Standard: These tracks are for both mono and stereo audio clips. Adaptive: Adaptive tracks are for mono, stereo, or multichannel audio and give you precise control over the output routing for each audio channel.

For example, you could decide the track audio channel 3 should be output to your mix in channel 5. This workflow is used for multilingual broadcast TV, where precise control of audio channels is used at transmission. Mono: This track type will accept only mono audio clips. When you add a clip to a sequence that has both video and audio, Premiere Pro makes sure the audio channels go to the right kind of track.

L E o R video Premiere Pro offers exceptional support for video and video. Both are often described as VR video, or immersive video, where multiple cameras, or a very wide lens, are used to capture a video image that can be viewed with a VR headset to create an immersive experience. On the VR Video tab in the New Sequence dialog box, you can specify the angle of view captured so Premiere Pro can accurately display the image. VR video is beyond the scope of this book, but it is well worth exploring when you have mastered the basics of video editing.

What is the purpose of the Settings tab in the New Sequence dialog box? How should you choose a sequence preset? What is timecode? How do you create a custom sequence preset? The Settings tab is used to customize an existing preset or to create a new custom preset. Premiere Pro makes this easy by describing the presets in terms of camera systems. Timecode is the universal system for measuring time in hours, minutes, seconds, and frames.

The number of frames per second varies depending on the recording format. To create a sequence, you need to import media files into your project. This might include video footage, animation files, narration, music, atmospheric sound, graphics, or photos. Everything you include in a sequence must be imported before it can be used. Any item included in a sequence will always also be included in the Project panel.

Whichever way you approach editing sequences, importing clips to the Project panel and organizing them is the first step. Continue to work with your project file from the previous lesson, or open it from your hard drive. The pointer is called a clip, and you can think of a clip as a special kind of alias macOS or shortcut Windows. A copy of the clip is added to the sequence with instructions to play only the part you selected. This changes the apparent duration in the sequence, even though the full original duration in the media file is unchanged.

Also, if you add an effect to a clip to brighten the image, the effect is applied to the clip, not the media file it links to.

Media can be imported in two principal ways. Using the Media Browser. Being able to see this metadata which contains important information, such as clip duration, recording date, and file type W makes it easier to select the correct clip in a long list.

Tip If you want to import assets used in another Premiere Pro project, you can browse inside that project in the Media Browser panel.

You can select and import clips and sequences to your current Project panel. Like any other panel, you can position the Media Browser in another panel group by dragging its panel name sometimes referred to as the panel tab.

You can also undock it to make it a floating panel by clicking the menu next to the panel name and choosing Undock Panel. The contents of your storage are displayed as navigation folders on the left, with buttons to navigate forward and backward at the top. You can use arrow keys to select items. There are several benefits to using the Media Browser: Note You can open multiple project files at the same time.

This makes it easy to copy clips from one project to another. If you do, remember you are copying the clip and not the media it links to. Viewing and customizing the kinds of metadata to display. Correctly displaying media that has spanned clips across multiple camera media cards. Premiere Pro will automatically import the files as a single clip even if a longer video file filled a storage card and continued onto a second.

You can switch between the two whenever you like. Premiere Pro can automate creating proxy files during import. This dialog box contains the original project setup options you saw when creating the project. You can change any setting at any time.

By default, all the Ingest options are deselected. Whichever ingest option you choose, the actions will be performed regardless of the way you import media files from now on. Files you have already imported are not affected. Enable Ingest by selecting it, and open the first menu to see these options: 1.

Copy: When you import media files, Premiere Pro will copy the original files to a location you choose from the Primary Destination menu below. This is a valuable option if you are importing media files directly from your camera storage, since media files must be available to Premiere Pro when your cards are not connected to the computer.

Transcode: When you import media files, Premiere Pro will convert the files to a new format and codec based on the preset you choose and will place the new files in a destination location you choose. Create Proxies: When you import media files, Premiere Pro creates additional copies that are lower resolution, based on the preset you choose, and stores them in the location you choose from the Proxy Destination menu.

You would not want to use these files for your final delivery, but they open up the option of using a number of collaborative workflows as well as speeding up effect configuration.

Copy and Create Proxies: When you import media files, Premiere Pro will copy the original files to a location you choose in the Primary Destination menu and create proxies that are stored in the Proxy Destination menu. Tip You can add a Toggle Proxies button to the Source Monitor or Program Monitor to quickly switch between viewing proxy or original media. Choose Create Proxies, open the Preset menu, and try choosing a few options.

Look at the Summary in the lower part of the dialog box that explains each option. When you have finished looking at the settings, click Cancel to exit without applying any of the options. This was just an introduction to the proxy media workflow.

For more information about managing proxy files, linking proxy media, and creating new proxy file presets, see the Adobe Premiere Pro Help.

Note To complete this lesson, you will import files from your computer. Be sure you have copied all the lesson files included with this book to your computer. For best results, follow these guidelines no need to follow along for now : Create a new media folder for each project.

Copy camera media to your editing storage with the existing folder structure intact. Be sure to transfer the complete data folder directly from the root directory of the card. For best results, consider using the transfer application that is often included by the camera manufacturer to move your video files, or explore Adobe Prelude CC, which can automate much of this process.

Check that all media files have been copied and that the original card and the copied folder sizes match. Clearly name the copied folder of the media with the camera information, including card number and the date of the shoot. Create a second copy of the media on a physically separate, second drive in case of hardware failure.

Really do actually create that second copy of your media on a physically separate drive! Importing from Adobe Prelude Adobe Prelude is designed to allow producers or assistants to quickly and efficiently ingest, log, and transcode media convert format and codec for tapeless workflows.

Launch Adobe Prelude. Open the project you want to transfer, and select one or more items in the Project panel. Adobe Prelude has a similar appearance to Premiere Pro but with simplified controls. Select the Project check box. Enter a name in the Name field. In the Type menu, choose Premiere Pro.

Click OK. The Choose Folder dialog box opens. Navigate to a destination for the new project, and click Choose. A new Premiere Pro project is created. You can open the Premiere Pro project file directly, or you can import it into an existing project.

This is no problem for Premiere Pro because you can mix different types of media in the same sequence. Also, the Media Browser can display almost any media file type.

AVCHD cameras. Apple ProRes. Image sequences, including DPX. Blackmagic CinemaDNG. Phantom Cine camera. It has Forward and Back buttons to go through your recent navigation.

It also has a list of shortcuts on the side. Finding materials is easy. Note When importing media, be sure to copy the files to your local storage, or use the project ingest options to create copies before removing your memory cards or external drives. Note When you open a project created on another computer, you may see a message warning you about a missing renderer. Continue working with your My Lesson Click the Media Browser panel name to bring it to the front of the panel group it should be docked with the Project panel by default.

Tip Some keyboard layouts make it difficult to find the right key. The Media Browser panel should now fill the screen. You may need to adjust the width of columns to make it easier to see items. Click the Thumbnail View button at the bottom left of the Media Browser panel, and drag the resize slider next to it to enlarge the thumbnails of the clips. You can use any size you like. Note The Media Browser filters out nonmedia and unsupported files, making it easier to browse for video or audio assets.

You can hover your pointer over any unselected clip thumbnail, without clicking, to see a preview of the clip contents. Click any clip once to select it. You can now preview the clip using keyboard shortcuts. When a clip is selected while in thumbnail view, a small preview timeline appears under the clip. Press the L key to play a clip. To stop playback, press the K key. To play backward, press the J key.

Experiment with playing back other clips. You should be able to hear the clip audio during playback. You can press the J or L key multiple times to increase the playback rate for fast previews. Use the K key or the spacebar to pause playback. Having completed the process of importing, the Project panel opens automatically and displays the clips you just imported. Like the Media Browser panel, clips in the Project panel can be viewed as icons or as a list, with information about each clip displayed.

Switch between these two viewing modes by clicking the List View button or Icon View button , at the bottom left of the Project panel.

Making the most of the Media Browser The Media Browser has a number of features that make it easy to navigate your storage. The Forward and Back buttons work like those in a web browser, allowing you to navigate to locations you have viewed previously. If you expect to import files from a location often, you can add the folder to a list of favorites at the top of the navigation panel.

You can limit the types of files displayed to make it easier to browse large folders by opening the File Types Displayed menu. You can open multiple Media Browser panels and access the contents of several different folders at once.

By default, limited information about clips is displayed in the list view. To display more information, you can add multiple columns of metadata by clicking the panel menu and choosing Edit Columns.

In the Edit Columns dialog box, select each type of metadata you would like to display. People expect graphics to both convey information and add to the visual style of a final edit. Premiere Pro can import just about any image and graphic file type. Anyone who works with print graphics or performs photo retouching has probably used Adobe Photoshop.

Importing single-layer image files Most graphics and photos you will work with will have a single layer—one flat grid of pixels that you can work with as a simple media file. Select the Project panel. When the Project panel is in icon view, it displays the contents of graphics as thumbnails. A good example is Dynamic Link.

This allows you to import After Effects compositions which are a little like Premiere Pro sequences into a Premiere Pro project in a way that creates a live connection between the two applications.

Once added in this way, the After Effects compositions will look and behave like any other clip in your Premiere Pro project. Importing layered Adobe Photoshop files Adobe Photoshop can create graphics with multiple layers.

Layers are similar to tracks in a Premiere Pro sequence and allow for separation between visual elements. You can import Photoshop document layers into Premiere Pro individually to allow for isolation when making adjustments or animation. These are layers with layer visibility turned off in Photoshop but not deleted. Premiere Pro honors the layer selection automatically on import. Merge All Layers: This merges all layers into one, importing the file into Premiere Pro as a single, flattened clip.

Merged Layers: This merges only the specific layers you select in this dialog box into a single, flattened clip. Individual Layers: This imports only the specific layers you select in this dialog box, with each layer becoming a separate clip in a bin in the Project panel.

Sequence: This imports only the layers you select in this dialog box, each as a single clip. Premiere Pro then automatically creates a new sequence with its frame size based on the imported PSD dimensions containing each clip on a separate track matching the original stacking order. Tip There are good reasons to import individual PSD layers with separate layer sizes.

For example, some graphic designers create multiple images for editors to incorporate into video edits, with each image occupying a different layer in the PSD.

If you choose Sequence or Individual Layers, you can choose one of the following from the Footage Dimensions menu: 1. Document Size: This brings all the selected layers into Premiere Pro at the size of the original Photoshop document. Layer Size: This matches the frame size of the new Premiere Pro clips to the frame size of their individual layers in the original Photoshop file.

Layers are also then centered in the frame, losing their original relative positioning. For this exercise, choose Sequence, and choose Document Size. Sequences have a unique icon in List view Icon view and displayed over their thumbnail in.

Note Remember, bins in the Project panel look and behave a lot like folders in your computer file system. Bins exist only inside the project file and are a great way to stay organized. Image tips for Adobe Photoshop files Here are a few tips for importing images from Adobe Photoshop: 1. Remember that when you import a layered Photoshop document as a sequence, the frame size in Premiere Pro will be the same as the pixel dimensions of the Photoshop document.

If you do plan to zoom or pan, create images so that the resulting zoomed or panned area of the image has a frame size at least as large as the frame size of the sequence. Importing large image files uses more system memory and can slow down your system.

As with any other media you import, changes made to the PSD file will update automatically in Premiere Pro when the file is saved. This means a designer can continue to work on an image you have already incorporated into a sequence.

Look at the sequence in the timeline. The contents of the sequence are displayed in the Program Monitor. Try clicking the Toggle Track Output button at the left of the timeline for each track to reveal and hide the content on each layer.

Bins have the same options as the Project panel, and opening multiple bins to browse their contents is a common way to navigate the available media in a project. Vector graphics are mathematical descriptions of shapes rather than drawn pixels.

This means you can scale them to any size and they always look sharp. Vector graphics are typically used for technical illustrations, line art, or complex graphics. A clip linked to the Illustrator file you imported will appear in the Project panel. Notice the black text in the logo disappears into the black background of the Source Monitor. If you have Illustrator installed on your computer, choosing Edit Original will open this graphic in Illustrator, ready to be edited.

It always merges them into a single layer clip. This conversion happens during import automatically, so be sure your graphics are configured to be large enough in Illustrator before importing them into Premiere Pro. Premiere Pro sets all empty areas of Illustrator files as transparent so that clips on lower tracks in your sequence will show through. You can select a whole folder.

Try this now. Premiere Pro imports the folder and its contents, including two subfolders containing photos. You can click the disclosure triangle next to any bin to toggle the display of its contents. If so, an information message will inform you that some files could not be imported. Importing VR video What is often referred to as VR video is really video that is best viewed using a VR headset as it captures an image in all degrees.

When wearing a VR headset to view this kind of video, you can turn your head to look in different directions. There is no special import process for video—you can use the regular Import option, or you can use the Media Browser panel and import as you would any other video. Premiere Pro expects prestitched equirectangular media, so you will have to use another application to prepare your media in this way prior to import.

The excellent video workflows in Premiere Pro are beyond the scope of this book—check the online help for more information. Adobe Stock offers millions of images and videos you can easily incorporate into your sequences via the Libraries panel.

Note You may have noticed the word conform is used to describe both the way clip playback is adjusted to match sequence settings and the way certain formats are processed when imported to Premiere Pro. This is particularly true for highly compressed formats, and the process is called conforming.

If necessary, imported audio files are automatically conformed to a new CFA file conformed audio file. Most MPEG files are indexed, leading to an extra. The media cache improves preview playback performance by making it easier for your editing system to decode and play media. You can customize the cache to further improve performance. A media cache database helps Premiere Pro manage these cache h iles, which are shared between multiple Creative Cloud applications.

Here are the options: To move the media cache files or the media cache database to a new location, click the appropriate Browse button, select the desired location, and click Choose macOS or Choose Folder Windows. In most cases, you should not move the media cache database during an editing project.

Select Save. If you want to keep everything in one central folder, leave this option unselected. You should clean the media cache database on a regular basis to remove old conformed and indexed files that are no longer required. To do so, click the Delete Unused button. Any connected drives will have their cache files removed.

The Media Cache Management options allow you to configure a degree of automation in the management of caches files. Click Cancel to close the Preferences dialog box without saving your changes. Tape vs. To bring footage from tape into a Premiere Pro project, you can capture it. Capture digital video from tape to your system storage before using it in a project. There are three basic approaches: You can capture your entire videotape as one long clip.

With some tape formats, you can use the scene detection feature in Premiere Pro to automatically create separate clips based on every time you pressed Record on your camera. These come in several form factors, including internal cards and breakout boxes that connect via FireWire, USB 3. This can be helpful because it will give you a sense of timing for your edits. Try recording a scratch audio track. You may need to consult the documentation for your computer or sound card. Every audio track has a set of buttons and options on the far left.

This area is called the track header. Turn down your computer speakers, or use headphones to prevent feedback or echo. Increase the height of the A1 track. To increase the height of an audio track, drag down on the horizontal dividing line between two audio track headers, or hover the pointer over the track header, while holding Option macOS or Alt Windows , and scroll the mouse wheel.

In the Timeline panel, time moves from left to right, just as it does with any online video. At the top of the Timeline panel, where the time ruler is displayed, a playhead indicates the current frame displayed in the Program Monitor.

You can click at any point in the time ruler and the playhead will move to show that frame. You can also drag on the time ruler itself to view the contents of the current sequence. This is called scrubbing like scrubbing a floor.

After a brief countdown, recording will begin. Say a few words, and press the spacebar to stop recording. A new audio clip is created and added to the Project panel and the current sequence. You may close it or leave it open for the next lesson. Where can media cache files be stored? How can you enable proxy media file creation when video is imported? The Media Browser understands the complex folder structures for P2, XDCAM, and many other formats, and it shows you the clips in a visually friendly way.

If you want layers as separate clips, choose Individual Layers and select the layers to import, or choose Sequence to import the selected layers and create a new sequence from them. You can store media cache files in any specified location or automatically on the same drive as the original files when possible. The faster the storage for your cache, the better the playback performance.

You can enable proxy media file creation in the Ingest settings. You can also enable proxy creation by selecting the box at the top of the Media Browser. Doing so can save you from spending hours hunting for things later. Alternatively, open the project file Lesson To begin, reset the workspace to the default. In the Workspaces panel, click Editing. Then click the panel menu adjacent to the Editing option, and choose Reset To aved Layout. Rename the file to Lesson 04 Working.

Anything that appears in a sequence must also be in the Project panel. If you delete a clip in the Project panel that is already used in a sequence, the clip will automatically be removed from the sequence.

Premiere Pro will warn you if deleting a clip will affect an existing sequence. In addition to acting as the repository for all your clips, the Project panel gives you important options for interpreting media. All your footage will have a frame rate frames per second, or fps and a pixel aspect ratio pixel shape , for example.

You may want to change these settings for creative or technical reasons. S he Project panel in List view.

To switch to this view, click the List View button at the bottom left of the panel. You might receive a video file that has the wrong pixel aspect ratio setting and want to correct it. Premiere Pro uses metadata associated with footage to know how to play it back. If you want to change the clip metadata, you can do so in the Project panel.

The default Editing workspace is designed to keep the interface as clean as possible so you can focus on your creative work. Open the Project panel menu. Choose Preview Area. The Preview Area shows useful information about clips when you select them. Tip You can access lots of clip information by scrolling the List view or by hovering your pointer over a clip name.

You can do this with any panel. The Preview Area shows you several kinds of useful information about a selected clip in the Project panel, including the frame size, pixel aspect ratio, and duration.

Click the Poster Frame button to set the clip thumbnail displayed in the Project panel. Choose Preview Area from the Project panel menu again to hide it. Finding assets in the Project panel Working with clips is a little like working with pieces of paper at your desk.

But when you have to , you need an organizational system. One way you can help make things smoother during the edit is to invest a little time in organizing your clips at the beginning.

Tip You can scroll the Project panel view up and down using the scroll wheel on your mouse, or using a gesture if you have a touchpad. Note You may need to drag a heading divider to expand the width of a column before you can see its sort order indicator or all of the information available in the column. Click the Name column heading at the top of the Project panel. The items in the Project panel are displayed in alphabetical order or reverse alphabetical order each time you click the Name heading.

A direction indicator next to the heading shows the current sort order. Scroll to the right until you can see the Media Duration heading in the Project panel. Click the Media Duration heading. Premiere Pro now displays the clips in order of media duration.

Notice the direction arrow on the Media Duration heading. Each time you click the heading, the direction arrow toggles between showing clips in order of increasing duration and or decreasing duration. Drag the Media Duration heading to the left until you see a blue divider between the Frame Rate heading and the Name heading. When you release the mouse button, the Media Duration heading will be repositioned right next to the Name heading.

Tip The Project panel configuration is saved with workspaces, so if you want to always have access to a particular setup, save it as part of a custom workspace.

At the top of the Project panel, you can type in the Search or Filter Bin Content field to display only clips with names or metadata matching the text you enter. This is a quick way to locate a clip if you remember its name or even part of its name. Note The name bin comes from film editing.

Click in the Filter Bin Content box, and type jo. Premiere Pro displays only the clips with the letters jo in the name or in the metadata. Click the X on the right of the Search field to clear your search. Type psd in the box. Premiere Pro displays only clips that have the letters psd in their name or metadata. Using the Filter Bin Content box in this way, you can search for particular types of files.

Do this now. Using advanced Find Premiere Pro also has an advanced Find option. To learn about it, start by importing some more clips. Premiere Pro displays the Find dialog box, which has more advanced options for locating your clip. You can perform two searches at once with the advanced Find dialog box. You can choose to display clips that match all search criteria or any search criteria. For example, depending on the setting you choose in the Match menu, you could do either of the following: Search for a clip with the words dog and boat in its name.

Search for a clip with the word dog or boat in its name. To do this, make choices from the following menus: Column: Choose one of the columns in the Project panel. When you click Find, Premiere Pro will search only within the column you choose. Operator: Choose from a set of common search parameters to determine whether the search will return a clip for which the column chosen in the first menu contains, matches exactly, begins with, or ends with whatever you search for.

Match: Choose All to find a clip with both your first and your second search text. Choose Any to find a clip with either your first or your second search text. Case Sensitive: Select this option to return only results that exactly match the uppercase and lowercase letters you enter.

Find What: Type your search text here. You can add up to two sets of search text. Tip You can find clips in sequences too. When you click Find, Premiere Pro highlights a clip that matches your search criteria. Click Find again, and Premiere Pro highlights the next clip that matches your search criteria. Click Done to exit the Find dialog box. Just as with folders on your hard drive, you can have multiple bins inside other bins, creating a folder structure as complex as your project requires.

Click the New Bin button at the bottom of the Project panel. Premiere Pro creates a new bin and automatically highlights the name, ready for you to rename it. You can also create a bin using the File menu.

One of the quickest and easiest ways to create a new bin for clips you already have in your project is to drag and drop the clips onto the New Bin button at the bottom of the Project panel. Make sure the Project panel is active, but no existing bins are selected.

Note It can be difficult to find a blank part of the Project panel to click when it is full of clips. If your Project panel is set to List view, with the Name heading selected for sorting at the top of the panel, bins are displayed in alphabetical order among the clips. Type the new name, and click away from the text to apply it. As you move clips into bins, use the disclosure triangles to hide their contents and tidy up the view.

Note When you import a Photoshop file with multiple layers and choose to import it as a sequence, Premiere Pro automatically creates a bin for the layers and their sequence. Drag the clip Under Basket.

MOV into the City Views bin. Drag the sequence called First Sequence into the Sequences bin. Drag all the remaining clips into the Theft Unexpected bin. You should now have a nicely organized Project panel, with each kind of clip in its own bin. You can also copy and paste clips to make extra copies if this helps you stay organized. Click the disclosure triangle for the Graphics bin to display the contents. Click the disclosure triangle for the Theft Unexpected bin to display the contents.

Premiere Pro places a copy of the clip in the Theft Unexpected bin. Note Notice the clip Under Basket. MOV has a file extension all in caps. This makes no difference for your operating system or for Premiere Pro. Note When you make copies of clips, you are not making copies of the media files they are linked to. You can make as many copies as you like of a clip in your Premiere Pro project. Those copies will all link to the same original media file. Premiere Pro will open the folder in your storage drive that contains the media file.

This can be useful if you are working with media files stored on multiple hard drives or if you have renamed your clips in Premiere Pro. Changing bin views Although there is a distinction between the Project panel and the bins inside it, they have the same controls and viewing options.

Bins have two views. You choose between them by clicking the List View button Icon View button or at the bottom left of the Project panel. List view: This view displays your clips and bins as a list, with a significant amount of metadata displayed. You can scroll through the metadata and use it to sort clips by clicking column headers. Icon view: This view displays your clips and bins as thumbnails you can rearrange and use to preview clip contents.

The Project panel has a zoom control, next to the List View and Icon View buttons, hich changes the size of the clip icons or thumbnails. Click the Icon View button on the Theft Unexpected bin to display thumbnails for the clips. Try adjusting the zoom control. Premiere Pro can display large thumbnails to make browsing and selecting your clips easier.

You can also apply various kinds of sorting to clip thumbnails in Icon view by clicking the Sort Icons menu w. Switch to List view. Try adjusting the Zoom control for the bin. Open the panel menu and choose Thumbnails. Premiere Pro now displays thumbnails in List view, as well as in Icon view. Try adjusting the Zoom control. The clip thumbnails show the first frame of the media. In some clips, the first frame will not be particularly useful.

Look at the clip HS Suit, for example. The thumbnail shows the clapperboard, but it would be useful to see the character. Note You can also change the font size in the Project panel or a bin by clicking the panel menu and choosing Font Size. Note Selecting a clip by clicking its thumbnail reveals a small timeline control under it. Drag on this timeline to view the contents of the clip. You can keep as many bins open as you like and place them anywhere in the interface to help you stay organized.

Switch to Icon view. In this view, you can hover the pointer over clip thumbnails to preview clips. Hover your pointer over the HS Suit clip. Move the mouse until you find a frame that better represents the shot.

While the frame you have chosen is displayed, press the I key. The I key is the keyboard shortcut for Mark In, a command that sets the beginning of a selection when choosing part of a clip that you intend to add to a sequence. The same selection also sets the poster frame for a clip in a bin. Premiere Pro shows your newly selected frame as the thumbnail for this clip. Choose Thumbnails from the panel menu to turn off thumbnails in List view.

Creating Search bins When using the Search field to display specific clips, you have the option to create a special kind of virtual bin, called a Search bin. Search bins appear in the Project panel automatically. They display the results of a search performed when using the Search field. You can rename search bins and place them in other bins. Assigning labels Every item in the Project panel has a label color.

In List view, the Label column shows the label color for every clip. When you add clips to a sequence, they are displayed in the Timeline panel with this label color. When you add a clip to a sequence, Premiere Pro creates a new instance, or copy, of that clip. Changing the available label colors You can assign up to 16 colors as labels to items in your project. There are seven types of items that label colors can be assigned to automatically based on the item type video, audio, still, etc.

You can click the color swatch to change the color, and you can click the name to rename it. You can use the Label Defaults options to choose different default labels for each kind of item in your project. Changing names Because clips in your project are separate from the media files they link to, you can rename items in Premiere Pro and the names of your original media files on the hard drive are left untouched. This makes it safe to rename clips—and it can be helpful when organizing a complex project.

This button appears whenever you are viewing the contents of a bin by opening it. Click to navigate up to the Project panel. You now have two instances of the same Project panel in the same panel group.

Open the Graphics bin. Tip To rename an item in the Project panel, you can also click the item name, wait a moment, and click again, or you can select the item and press Enter. The original media file is displayed in its current location. Notice that the original filename has not changed. Note When you change the name of a clip in Premiere Pro, the new name is stored in the project file.

 

Adobe premiere pro cc classroom in a book pdf free free

  To capture stereo the sound two ears can detect , you need two signals, so two channels are recorded. Audio Samples: When digital audio is recorded, the sound level technically, air pressure level as captured by the microphone is sampled thousands of times a second.    

 

Adobe premiere pro cc classroom in a book pdf free free. Adobe Premiere Pro Classroom in a Book

    The lessons in this edition include opportunities for handson practice using features such as chromakeying, dynamic trimming, color correction, media management. Adobe Premiere Pro CC Classroom in a Book® is part of the official training series for Adobe graphics and publishing software. The lessons are designed so that.