Manuale d’uso / di manutenzione del prodotto Premiere Pro CS6 del fabbricante Adobe
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ADOB E ® P RE MIE RE ® PRO Hel p and t utor ial s February 2013.
Contents What's New 1 .................................................................................................................................................... What's New in CS6 2 ..................................................
Managing metadata 153 ............................................................................................................................................................. Working with aspect ratios 157 ........................................
Viewing and adjusting effects and keyframes 336 ...................................................................................................................... Applying effects to audio 338 ......................................................
What's New 1.
What's new in CS6 To the top To the top New features overview Introduction to Adobe Premiere Pro CS6 Redesigned, customizable user interface New default workspace Redesigned Source and Program Mo.
Redesigned Source and Program Monitors The Source and Program monitors have been redesigned to be more customizable. Customizable button bar. Timecode numbers can be toggled on or off (also available in the Timeline). Pop- up menu for direct access to playback resolution.
To the top Editing workflow improvements Mercury Playback Engine improvements The Adobe Mercury Transmit feature enables third - party capture cards to plug directly in to the performance of the Mercury Playback Engine. The feature gives you access to CUDA acceleration and enhanced support for SDI I/O and professional broadcast monitoring.
To the top markers is now available in clip markers. Customize markers in the redesigned Marker dialog box. View all of your clip markers in the new Markers panel.
To the top Video tutorial: Changes to the Audio Mixer and Audio Meters panels New audio track functionality Mono and stereo audio tracks are no longer separate. A new kind of audio track, called "Standard" can contain both stereo and mono clips.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Three -Way Color Corrector effect (CS6) Video tutorial: Newly designed 3- Way Color Corrector effect Adobe SpeedGrade Color Correction Export sequences to Adobe SpeedGrade to professionally color -grade your work.
What's New in Adobe Media Encoder CS6 To the top To the top Queue and Watch Folders: Independent handling of source and output Preset browser Import and export presets Improved scaling of source .
Note: Note: A. User preset B. Alias created to a preset C. Preset group D. Create new preset E. Delete preset F. Create new preset group G. Preset settings H. Import presets I. Export presets J. Search for presets Create presets, preset groups, and aliases Preset Groups can contain user presets, aliases to presets, or other preset groups.
To the top Note: To the top Scale To Fit Scale To Fill Stretch To Fill Scale To Fit With Black Borders Drag a composition from the Project panel of an open After Effects project to a preset, preset group, or alias in the Preset Browser .
Note: Change Output Size To Match Source Note: To the top To the top To the top H.264 (Legacy) This option is the same as the Black Borders option in the Crop Settings menu of Adobe Media Encoder CS5.5. Overrides the output frame size settings to match the crop settings of the source.
H.264 Blu -ray (Legacy) MPEG4 (Legacy) To the top To the top Preserves support for Match Source presets and Surcode for Dolby. Presets created in previous versions of Adobe Media Encoder can be imported into Adobe Media Encoder CS6. However, presets for H.
3 . Select Cut. 4 . Click next to Ctrl+x to delete the existing command. 5 . Click Add. 6 . Press Ctrl+t . 7 . Click OK . File menu Edit menu Preset menu Window menu Result Windows Mac OS Add watch fo.
Main user interface Export Settings dialog Result Windows Mac OS Close the current panel Ctrl+W Cmd+W Maximize/Restore the panel under the pointer cursor ` (backtick sign under tilde) ` (backtick sign.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Keyboard Shortcuts dialog Increase or decrease current value by 10 Shift +Up/Down Arrows Shift +Up/Down Arrows Increase or decrease current value by 1 Up and Down Arrows Up and Down Arrows Increase or decrease current value by .
What’s new (CS5.5) For a complete list of what’s new and changed in Adobe Premiere Pro CS5.5, see this post on the Premiere Pro Work Area blog . To see the new features of Adobe Premiere Pro CS5.5 in action, see this video tutorial series by Video2Brain .
What’s new (CS5) For Premiere Pro system requirements, see the Adobe website . For lists of various categories of hardware compatible with Adobe Premiere Pro, see the Adobe website . See this page for what’s new and changed in Adobe Premiere Pro CS5 (5.
and can achieve complex keys on smoke, liquids, and transparent objects. For more information, see Chromakey with the Ultra Key effect. Native support for DSLR cameras Edit video from the latest DSLR cameras.
Premiere Pro getting started tutorials To learn more, view these recommended resources online. Premiere Pro CS6 video tutorials (Aug. 14, 2012) Premiere Pro CS6: New Features Workshop (Apr. 12, 2012) Premiere Pro CS6: what's new and changed (Apr.
Adobe Premiere Pro CS5/CS5.5 tutorials To the top To the top To the top Essential Adobe Premiere Pro tutorials and learning resources for getting started and new features.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Unified audio effects in Adobe Premiere Pro CS5.5 (HTML) Adobe Premiere Pro CS5.5 improvements in CUDA processing and the Mercury Playback Engine (HTML) Adobe Premiere Pro CS5.
Workspace and workflow 22.
Workspaces To the top To the top Import a workspace with a project Customizing workspaces Brighten or darken the interface The 2- up editing workspace (CS6) For an overview of the Premiere Pro interface, see this introduction to panels and workspaces from Peachpit Press .
choose one of these workspaces, or any custom workspaces you’ve saved, the current workspace is redrawn accordingly. Open the project you want to work on, choose Window > Workspace, and select the desired workspace.
Drag panel gripper to move one panel To move an entire group, drag the group gripper in the upper - right corner onto the desired drop zone. Drag group gripper to move entire group The application docks or groups the panel, according to the type of drop zone.
Note: Dragging divider between panel groups to resize them horizontally A. Original group with resize icon B. Resized groups Open, close, and scroll to panels When you close a panel group in the application window, the other groups resize to use the newly available space.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top To the top 2 . Choose the workspace you want to delete, and then click OK. You cannot delete the currently active workspace.
Working with Panels To the top To the top To the top To the top To the top Navigate the panels Display any panel full- screen Display panel options Display context and panel menus Tools panel and Options panel Clip details in the Info panel Navigate the panels You can use keyboard shortcuts to activate panels in rotation.
link to CS Services. You can also dock the Tools panel to the Options panel. Tools When you select a tool, the pointer changes shape according to the selection. For example, when you select the Razor tool and position the pointer over a clip in a Timeline panel, the icon changes to a razor .
To the top 2 . Select Dock In Options Panel. Undock the Tools panel from the Options panel In the Options panel, click the dotted area to the left of Selection Tool. Premiere Pro removes the Tools panel from the Options panel, and returns the Tools panel to the location it had before docking to the Options panel.
Using the Source Monitor and Program Monitor To the top Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor U.
Note: Note: The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain.
To the top Change magnification The Source Monitor and Program Monitor scale video to fit into the available area. You can increase the magnification setting for each view to see the video in more detail.
To the top To the top Time rulers Playhead Note: Current time displays Duration display Zoom scroll bars You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab.
Note: To the top To the top To the top contract and expand the bar. You can also scroll the mouse wheel in the areas outside of the bars for the same expanding and contracting behavior. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Composite Video Alpha All Scopes Vectorscope YC Waveform YCbCr Parade RGB Parade Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade Displays the normal video.
Customizing the Project panel To the top To the top To the top Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel Change Project panel views After you obtain an asset, its name appears in the Project panel.
To the top In Premiere Pro CS6, Icon view has the following features: Use the Zoom slider to increase or decrease the size of icons. Icons can be zoomed to a large scale so that you can view the contents of your media more easily.
Note: Integer Real Text Boolean Name Label Media Duration Note: Video Duration Audio Duration Video Info Video Usage Audio Usage Tape Name Description boxes next to the names of the columns you want to display.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Comment Log Note File Path Capture Settings Status Offline Properties Scene Shot/Take Good To the top Optional comment, entered when the asset was logged or captured, intended for identification and sorting purposes.
Basic workflow The steps you take in editing video, from import or capture through final output, make up your workflow. The basic workflow describes the most general steps you would take with most projects.
For an overview of the Premiere Pro workflow, see this video from Video2Brain and Learn by Video, presented by Maxim Jago . To get started editing quickly with Premiere Pro, see this video from Video2Brain and Learn by Video, presented by Maxim Jago .
Source Monitor, Program Monitor, and Timeline panel You add clips to a sequence in a Timeline panel by dragging them there or by using the Insert or Overwrite buttons in the Source Monitor. You can automatically assemble clips into a sequence that reflects their order in the Project panel.
task. Alternatively, you can view and adjust transitions and a clip’s effect keyframes in a Timeline panel. (See Transition overview: applying transitions and Apply effects to clips.) Effects panel in filtered view, Effect Controls panel, and Program Monitor 6.
Export Settings dialog box and Encore New Project dialog box Adobe recommends Have a tutorial you would like to share ? Adobe Premiere Pro CS5: Welcome to Premiere Pro Maxim Jago See this video tutorial by Maxim Jago on the Peachpit Press website for an introduction to Premiere Pro.
The Basic Premiere Pro workflow on Adobe TV Legal Notices | Online Privacy Policy 46.
Default keyboard shortcuts in CS6 To the top To the top Find keyboard shortcuts Video: New keyboard shortcuts in Adobe Premiere Pro CS6 Video: Keyboard shortcut changes in Premiere Pro CS6 Customize o.
Application Panels Tools Note: To the top To the top Adobe Premiere Pro Factory Defaults (Adobe Premiere Pro CS5) Adobe Premiere Pro CS5.5 (Adobe Premiere Pro CS5.5) Adobe Premiere Pro CS6 (Adobe Premiere Pro CS6) Avid Xpress DV 3.5 (Adobe Premiere Pro CS5) Avid Media Composer 5 (Adobe Premiere Pro CS5.
To the top To the top Click the Clipboard button. Start a new document in a text editor. Paste the contents of the clipboard into the document. Selecting tools (keyboard shortcuts) File Result Windows.
To the top Edit Import from Media Browser Ctrl+Alt+I Opt+Cmd+I Import Ctrl+I Cmd+I Media Ctrl+M Cmd+M Select Ctrl+Shift+H Shift+Cmd+H Help F1 F1 Result Windows Mac OS Undo Ctrl+Z Cmd+Z Redo Ctrl+Shift.
To the top To the top Viewing panels Capture panel Set Work Area Bar Out Point Alt+] Opt+] Slip Clip Selection Left 5 Frames Ctrl+Alt+Shift+Left Arrow Opt+Shift+Cmd+Left Arrow Slip Clip Selection Left.
To the top To the top Multi-Camera Monitor Project panel Record Audio A Record Video V Navigate through editable fields Tab Cancel capture Esc Eject E Fast forward F Go to In point Q Go to Out point W.
To the top Timeline Panel Extend selection down Shift+Down Arrow Shift+Down Arrow Extend selection left Shift+Left Arrow Shift+Left Arrow Extend selection right Shift+Right Arrow Shift+Right Arrow Ext.
Set work area bar Out point Alt +] Option+] Clear In and Out points Ctrl+Shift+X Opt+X Clear In point Ctrl+Shift+I Opt+I Clear selection Backspace Delete Clear Out point Ctrl+Shift+O Opt+O Edit audio .
Play forward at normal speed L L Play forward one frame at a time Hold K while pressing L Hold K while pressing L Play forward slowly (8 fps) Hold down K+L Hold down K+L Play in reverse at fast speed Hold down Shift while pressing J repeatedly until playing at the desired speed.
To the top Titler Result Windows Mac OS Arc tool A A Decrease kerning by five units Alt+Shift+Left Arrow Option+Shift+Left Arrow Decrease kerning by one unit Alt+Left Arrow Option+Left Arrow Decrease .
To the top To the top To the top Type alignment Trim Monitor panel Playback Resolution Position objects to the left title- safe margin Ctrl+Shift+F Command+Shift+F Position objects to the top title -s.
To the top To the top To the top To the top To the top Audio Mixer Panel Effects Panel Workspace Media Browser Panel History Panel Result Windows Mac OS Show/Hide Tracks Ctrl+Alt+T Opt+Cmd+T Meter Inp.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Effect Controls panel Step Backward Left Arrow Left Arrow Step Forwa.
Default keyboard shortcuts (CS5 and CS5.5) To the top To the top Note: Find keyboard shortcuts Customize or load keyboard shortcuts Remove shortcuts Print keyboard shortcuts Selecting tools (keyboard .
To the top To the top To the top To the top Franklin McMahon provides a video tutorial on the Layers Magazine website that shows how to customize keyboard shortcuts. This video shows you how to transport your customized keyboard shortcuts to other Premiere Pro editing systems.
To the top To the top Capture panel (keyboard shortcuts) Multi-Camera Monitor (keyboard shortcuts) Effect Controls panel Shift+5 Effects panel Shift+7 Source Monitor panel Shift+2 Program Monitor pane.
To the top To the top Project panel (keyboard shortcuts) Timeline panel (keyboard shortcuts) Select Camera 2 2 Select Camera 3 3 Select Camera 4 4 Step Back Left Arrow Step Forward Right Arrow Result .
Set work area bar In point Alt+[ Option+[ Set work area bar Out point Alt +] Option+] Clear In and Out points G G Clear In point D D Clear selection Backspace Delete Clear Out point F F Edit audio or .
To the top Titler (keyboard shortcuts) repeatedly until playing at the desired speed. Release Shift. repeatedly until playing at the desired speed. Release Shift.
Arc tool A A Decrease kerning by five units Alt+Shift+Left Arrow Option+Shift+Left Arrow Decrease kerning by one unit Alt+Left Arrow Option+Left Arrow Decrease leading by five units Alt+Shift+Down Arr.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Trim panel (keyboard shortcuts) Effect Controls panel (ke.
Preferences To the top To the top Change preferences General preferences Appearance preferences Audio Preferences Audio Hardware preferences Audio Output Mapping preferences Change the Auto Save setti.
To the top To the top To the top To the top To the top Bin behavior when double - clicking on a bin, or double -clicking with the Shift or Option keys can be controlled in the Bins preference. In Premiere Pro CS6, you can choose to show the match sequence settings to clip dialog.
To the top To the top To the top To the top To the top To the top To the top 1 . Choose Edit > Preferences > Auto Save (Windows) or Premiere Pro > Preferences > Auto Save (Mac OS). 2 . Do any of the following, and then click OK: Select Automatically Save Projects, and type the number of minutes you would like between saves.
To the top To the top To the top and sequences for the following: Source Monitor Program Monitor the preview area at the top of the Project panel Trim Monitor Multi -Camera Monitor the video transition preview in the Effect Controls panel. You can choose the default player for your computer, or a third -party plug -in player for Premiere Pro.
Adobe Dynamic Link To the top To the top To the top To the top Adobe Dynamic Link (CS6) About Dynamic Link Dynamic Link performance Create and link to After Effects compositions with Dynamic Link Dele.
To the top To the top To the top Create a dynamically linked composition from Adobe Premiere Pro or Encore Creating a new dynamically linked composition from Adobe Premiere Pro or Encore launches After Effects .
To the top the sequence settings from Premiere Pro and maintains a dynamic link to After Effects. You can edit the composition in Premiere Pro or in After Effects. 1 . In a sequence, select the clips you want in the composition. 2 . Right - click any of the selected clips.
Cross -application workflows To the top To the top Edit a clip in its original application Working with Photoshop and Premiere Pro Copy between After Effects and Adobe Premiere Pro Working with Adobe .
To the top work in Photoshop. Similarly, if you are applying several paint strokes by hand to get rid of dust, consider using the Photoshop paint tools. The animation and video features in Photoshop Extended include simple keyframe -based animation. Premiere Pro, however, provides quite a bit more keyframe control over various properties.
Copy from After Effects to Adobe Premiere Pro You can copy a layer based on a footage item from an After Effects composition and paste it into an Adobe Premiere Pro sequence. Adobe Premiere Pro converts these layers to clips in the sequence and copies the source footage item to its Project panel.
To the top into After Effects . 1 . Select an asset from the Adobe Premiere Pro Timeline panel. 2 . Choose Edit > Copy. 3 . In After Effects, open a composition in the Timeline panel. 4 . With the Timeline panel active, choose Edit > Paste. The asset appears as the topmost layer in the Timeline panel.
To the top To the top accurate video editing, including tools for optimizing video files for playback on computer screens and mobile devices. Adobe Flash Professional is a tool for incorporating video footage into presentations for the web and mobile devices.
To the top To the top Preview the disc Check the functionality and the look of your DVD or Blu - ray Disc menus in the Preview DVD window. Burn the disc With a DVD or Blu - ray Disc burner installed or connected, you can burn your content to disc. You can save the compressed files to a folder for playback from a computer hard drive.
Cross -platform workflow You can work on a project across computer platforms. For example, you can start on Windows and continue on Mac OS. A few functions change, however, as the project moves from one platform to the other. Sequence settings You can create a project on one platform and then move it to another.
Finding and customizing keyboard shortcuts To the top To the top Find keyboard shortcuts Customize or load keyboard shortcuts Remove shortcuts Print keyboard shortcuts Many commands have keyboard shortcut equivalents, so you can complete tasks with minimal use of the mouse.
To the top To the top 6 . Type the shortcut you want to use for the item. The Keyboard Customization dialog box displays an alert if the shortcut you choose is already in use. 7 . Do one of the following: To erase a shortcut and return it to the command that originally had it, click Undo.
Setting up your system To the top To the top Premiere Pro trial versions Set up a DV or HDV system Set up an SD -SDI, HD -SDI, or component system Set up a file - based system Set up an S -Video or co.
To the top DV/HDV setup A. Computer and computer monitor B. 6-pin FireWire port and connector C. 4- pin FireWire port and connector D. DV/HDV camcorder E. RCA jacks and plugs for L (white) audio, R (red) audio, composite video (yellow); jack and plug for S -Video (y/c) F.
To the top from the video outputs of the computer or breakout box to the video inputs of the device. Also run video cables from the video outputs of the device to the video inputs of the computer or breakout box. 2 . Connect the SD -SDI, HD -SDI, or component device to the computer or breakout box using XLR audio cables.
To the top To the top 2 . Connect the output of the computer sound card to computer speakers or audio amplifier. 3 . Connect the video outputs from the capture card, breakout box, or display card to the TV monitor using component, SDI, or HDMI cables.
To the top To the top To the top To the top ASIO drivers for the device. If the sound card does not have manufacturer -supplied ASIO drivers, choose Premiere Pro WDM Sound for this setting. To enable a device, be sure to install an up- to- date driver for the device (Windows.
earlier project after editing another project with different scratch disk locations, Premiere Pro will seek out the files belonging to the earlier project at the scratch disk locations you chose for that project.
To the top To the top does not support capturing audio separate from video.) Set the locations for new files by choosing Edit > Preferences > Scratch Disks (Windows) or Premiere Pro > Preferences > Scratch Disks (Mac OS).
Project setup 91.
Creating and changing projects To the top Create a project Review project settings Project Settings dialog box Open a project Delete a project file Moving a project to another computer A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing.
To the top To the top To the top To create a project without a sequence, click Cancel. 5 . (Optional) If you want to change where Premiere Pro stores various types of files, specify the scratch disk locations. See Specify scratch disks to improve system performance.
To the top To the top Skip All Like Skip, Skip All replaces all missing files with temporary offline files. Important: Select Skip or Skip All only when you are certain that you want to rework all the instances where the file is used in the project.
Archiving projects The Premiere Pro Project Manager can help facilitate an efficient workflow by performing two functions: reducing the storage needs of a project, and consolidating the files associated with a project.
Trim or copy your project 1 . Choose Project > Project Manager. 2 . In the Source pane of the Project Manager window, check the box next to each sequence you want to include in your trimmed project. To check all boxes, Shift -click any one box. Note: Nested sequences are not automatically added to the trimmed sequences.
The following online resources are available for more information about trimming or copying your project: Franklin McMahon demonstrates a few features for preparing a movie for export and review, including details about trimming a project in this video on the Layers Magazine website .
Importing footage 98.
Transferring and importing files To the top Note: Note: File formats supported for import About transferring files About importing files Import files with the Media Browser Import files with the Import commands Import files using Adobe Bridge Channel support Premiere Pro trial versions (CS5, CS5.
Note: Note: Note: to download the proper version (QuickTime Player 7.66 for Mac OS X v.10.6.3). For more information see the article, "Install QuickTime 7 Pro with Lion.
Note: To the top Premiere Pro supports 8bpc (4 bytes per pixel) and 16bpc (8 bytes per pixel) still - image files. AI, EPS BMP, DIB, RLE DPX EPS GIF ICO (Icon File) (Windows only) JPEG (JPE, JPG, JFIF.
To the top The folder structure for AVCHD assets The folder structure for DVCPRO HD assets The folder structure for XDCAM EX assets The folder structure for DVD- video assets About importing files For a video overview of the ways to import assets into Premiere Pro, see the Adobe website .
To the top To the top Note: To the top You can also import files and folders by dragging them from Windows Explorer (Windows) or Finder (Mac OS) into the Project panel.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Premiere Pro imports the clip into the Project panel. You can also drag clips from the Adobe Bridge Content panel directly into the Premiere Pro Project panel.
Importing assets from tapeless formats Note: Note: Note: To the top Import assets from file -based sources with Media Browser About spanned clips File -based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: Note: Note: To the top coherent clips, and does not import irrelevant non -media files sometimes found in the folders of tapeless media.
Importing still images To the top To the top Note: Note: Preparing still images before importing Importing Photoshop and Illustrator files Import numbered still - image sequences as video clips You can import individual still images into Premiere Pro or import a numbered series of still images as a sequence.
Merge All Layers Merged Layers Individual Layers Sequence Note: To the top Note: as opaque white, whereas it exports a checkerboard background as a transparent alpha channel when exporting to a format that supports alpha channels. Importing layered Photoshop files makes it easy to use graphics created in Photoshop.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Working with Photoshop and Premiere Pro Media preferences 109.
Importing digital audio To the top To the top To the top To the top To the top Using audio from audio CDs Using compressed audio formats Using audio from Adobe Soundbooth Audio sample rates supported Conforming audio You can import digital audio clips stored as audio files or tracks in video files.
These rules determine which types of audio get conformed: Uncompressed audio Premiere Pro does not conform audio in uncompressed clips that were recorded in one of the natively supported sample rates, when you use these clips in sequences with matching sample rates.
Importing sequences, clip lists, libraries, and compositions To the top To the top To the top Import clips from Adobe OnLocation projects using the Media Browser Importing earlier Premiere Pro project.
To the top To the top To the top To the top Import a Premiere Elements project (Windows only) 1 . Select File > Open Project. 2 . Browse to an Adobe Premiere Elements project file, with file extension PREL. 3 . Click Open. Premiere Pro converts the Premiere Elements project file to a Premiere Pro project file.
Importing XML project files from Final Cut Pro To the top To the top To the top Import an XML file from Final Cut Pro Final Cut Pro clip data Final Cut Pro effects and transitions Final Cut Pro compos.
To the top Conversion of Final Cut Pro video transitions Final Cut Pro transition Premiere Pro transition Dip To White Dip To White Dip to [color] Dip To Black Edge Wipe transitions Wipe, with the wipe direction rounded to the closest of the eight Premiere Pro supported directions.
To the top Travel Matte Alpha Not supported Travel Matte Luma Not supported Final Cut Pro Multiclips Premiere Pro converts uncollapsed Final Cut Pro Multiclips, with as many as four inputs, to Multi -camera sequences. Premiere Pro converts collapsed Multiclips to individual clips.
Support for growing files Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Support for growing files in Premiere Pro CS6 Growing files are those that grow in duration after they are ingested.
Working with Adobe Prelude CS6 Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Working with Adobe Prelude You can use Adobe Prelude CS6 to ingest clips, transcode footage, create subclips markers, and rough cuts, and then import that data into Premiere Pro CS6.
Batch capturing and recapturing To the top To the top About logging clips Log clips for batch capturing About batch capturing Choosing batch -capture settings Batch capture clips Troubleshooting batch.
Capture panel with Logging active When logging HDV and other Long GOP formats, be sure to add handles in the Handles setting of the Capture section. Because of the nature of Long GOP formats, inaccuracy in actual media content is possible. Adding handles assures that you have the proper frames needed for editing and, if need be, recapturing.
To the top To the top About batch capturing Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device. You can define a batch by selecting a group of clips you have logged. These appear as offline (placeholder) clips in the Project panel or in a bin.
To the top To the top To the top 2 . Choose Clip > Capture Settings > Set Capture Settings. The Capture Settings dialog box opens. 3 . See Specify capture settings. Remove capture settings from an offline clip 1 . In the Project panel, select the clip.
To the top To export a batch -list timecode log, select the files that you want to log. Then choose Project > Export Batch List. Specify a filename and location, and click Save. Recapture clips You can recapture clips in an existing project using batch capturing.
Capturing DV or HDV video You can capture audio and video from a DV or HDV device by connecting the device to your computer with a FireWire cable. Premiere Pro records the audio and video signal to the hard disk and controls the device through the FireWire port.
Capturing HD video You can capture audio and video from an HD device with an SDI port. Your computer must have a supported SDI capture card, and its drivers and software installed. Similarly, you can capture HD footage from XDCAM SDI sources provided a supported XDCAM capture card is installed, along with its respective driver.
Capturing and digitizing To the top To the top About capturing and digitizing System requirements for capturing Set capture format, preferences, and tracks Capture from stereo sources to mono tracks F.
To the top this feature using the camcorder menu system. Set capture format, preferences, and tracks Use the Capture panel (choose File > Capture) to capture digital or analog video and audio. This panel includes a preview, which displays video being captured, and controls for recording with or without device control.
To the top To the top To the top Capture from stereo sources to mono tracks You can capture from sources containing stereo or 5.1 audio channels so that each audio channel maps to its own mono audio track automatically.
2 . Select the type of device you want to control from the Devices menu. 3 . Click Options. 4 . (Optional) If you are connecting a DV or HDV device, make your selections from the Video Standard, Device Brand, Device Type, and Timecode Format menus.
To the top To the top To the top Device controls in the Capture panel You can use the controls in the Capture panel to operate the device as you log clips. The jog control lets you navigate quickly to nearby frames. The shuttle control lets you change the speed of the tape as you play it forward or backward.
To the top To the top Capture an entire tape or portion of a tape 1 . Choose File > Capture. 2 . (Mac OS) If a QuickTime Capture Settings dialog box opens, choose video and audio settings appropriate to your project. These settings are preserved for the project, but you set them again for each new project.
To the top Common capture issues If you run into problems while capturing digital footage, refer to Premiere Pro Help or the documentation for your camera, deck, or capture card. For more information, check Troubleshoot digital video capture and playback .
Capturing content for DVD DVD content is compressed according to DVD specifications so that it plays reliably on a wide range of players. When preparing content for a DVD project, pay attention to frame size and frame rate, so that content retains its quality in the transition to DVD.
Create clips for offline editing To the top To the top Create low -resolution clips for offline editing Replace low - resolution clips with high- resolution clips for online editing For online editing , you edit clips at the level of quality required for the final version of the video program.
Digitizing analog video To the top To the top About capture card settings Digitize analog video In order to edit video shot in an analog format, you must first digitize it. You can digitize it by routing the video signal through either a digital camcorder that can digitize on the fly or a digitizing device installed in your computer.
and click the Record button in the Capture panel. If the digital device offers device control, capture or log footage using the Capture panel’s controls, as you would with a digital source.
Working with timecode To the top To the top About timecode Choose timecode display format Change how timecode is displayed Stripe tape or replace timecode Capturing timecode Set timecode manually for .
To the top To the top Start At 00:00:00:00 Starts timecode shown for every clip at 00:00:00:00. 3 . In the Frame Count menu, choose one of the following: Start At 0 Numbers every frame sequentially, with the first frame numbered 0. Start At 1 Numbers every frame sequentially, with the first frame numbered 1.
To the top To the top To the top To the top 7 . Make sure that the recording device is set to record from the digital port. 8 . Begin recording the new tape and then start your original tape playing. Let the camcorders or decks run until the entire original tape has been copied.
To the top To the top 7 . Adjust the options as needed. View source timecode in the Program Monitor You can display the source timecode in the Program Monitor preview for clips in a sequence as you edit: If you trim a clip, the clip’s source timecode is displayed.
Managing assets 141.
Customizing the Project panel To the top To the top To the top Change Project panel views Working in List view Working in Icon view Customize List view columns Select format for timecode display in the Project panel Change Project panel views After you obtain an asset, its name appears in the Project panel.
To the top In Premiere Pro CS6, Icon view has the following features: Use the Zoom slider to increase or decrease the size of icons. Icons can be zoomed to a large scale so that you can view the contents of your media more easily.
Note: Integer Real Text Boolean Name Label Media Duration Note: Video Duration Audio Duration Video Info Video Usage Audio Usage Tape Name Description boxes next to the names of the columns you want to display.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Comment Log Note File Path Capture Settings Status Offline Properties Scene Shot/Take Good To the top Optional comment, entered when the asset was logged or captured, intended for identification and sorting purposes.
Organizing assets in the Project panel To the top Working with bins Label assets Rename assets Jump to an asset in the Project panel Find assets in the Project panel Find assets matching criteria Find.
selecting one or more bins, and then pressing the Delete key. See the entire series of video tutorials about the Project panel by Andrew Devis on the Creative Cow website.
To the top Note: To the top Note: To the top To the top All Visible Label assets Labels are colors that help you identify and associate assets. You assign and view labels in the Project panel. Label colors mark assets in the Project panel’s Label column and in a Timeline panel.
Text Transcript To the top To the top Note: Searches only the Speech To Text metadata field. 2 . Do one of the following: Place the cursor in the Find box in the Project panel. Select the Project panel, and press Shift+F. 3 . (Optional) Click the magnifying glass icon in the Find box to see a menu listing the most recently searched terms.
To the top Note: To the top Note: To the top Click the magnifying glass in the Find box and choose Find Faces, Choose Edit > Find Faces. The Project panel displays only clips containing faces. All bins remain visible in this filtered view to allow you to drag clips to them.
Note: To the top To the top Note: To the top To the top To save the new data, and to highlight the previous cell for the same clip, press Shift+Tab. To save the new data, and to highlight the same cell in the next clip, press Enter (Windows) or Return (Mac OS).
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Managing metadata To the top To the top About the Metadata panel and XMP About the Metadata panel in Premiere Pro About file, clip, and project XMP metadata Using clip metadata and file metadata Edit .
To the top To the top To the top on. Fields under the File and the Speech Transcript headings show XMP metadata. Using Speech Search, you can transcribe words spoken in a clip to text. Then search the text to find where a specific word is spoken in the clip.
To the top To the top If you selected multiple items, the panel displays properties as follows: If a property matches for all items, the matching entry appears. If a property differs, <Multiple Values> appears. To apply matching values, click the text box, and type.
To the top To the top Integer Displays whole numbers that you drag or click to change. Real Displays fractional numbers that you drag or click to change. Text Displays a text box (for properties similar to Location). Boolean Displays a check box (for On or Off properties).
Working with aspect ratios To the top About aspect ratios Using assets with various aspect ratios Fix aspect ratio distortion Correct individual aspect ratio misinterpretations Correct recurring aspect ratio misinterpretations Common pixel aspect ratios About aspect ratios An aspect ratio specifies the ratio of width to height.
NTSC displays A. 16:9 NTSC footage B. DVD player display using original widescreen format on widescreen TV screen C. 16:9 image on a 4:3 TV screen cropped using automatic pan and scan D.
To the top To the top To the top To the top To the top Using assets with various aspect ratios Premiere Pro automatically attempts to preserve the frame aspect ratio of imported assets, sometimes changing the pixel aspect ratio, the frame dimensions, or both so that the asset does not appear cropped or distorted when used in a sequence.
that was transferred from film or for customized projects. D1/DV NTSC 0.91 Footage has a 720x486 or 720x480 frame size, and the desired result is a 4:3 frame aspect ratio. This setting can also be appropriate for footage that was exported from an application that works with nonsquare pixels, such as a 3D animation application.
Working with markers To the top Note: Markers Markers panel (CS6) Add markers in the Timeline (CS6) Add markers to clips (CS6) Find, move, and delete markers Display marker comments Sharing markers with After Effects, Encore, and Flash Markers Markers indicate important points in time and help you position and arrange clips.
To the top To the top Name Duration Markers on the Marker and Timeline panels A. Comment marker B. Flash cue point marker C. Encore chapter marker D. Web link marker E. Movie sequence F. Movie clip G. Markers on the Timeline Markers panel (CS6) Use the Marker panel (Window > Markers) to see all the markers in an open clip or sequence.
Comments Encore Chapter Marker Web Link URL Note: Frame Target Flash Cue Point Type Plus and Minus buttons Name Value Note: To the top Type a comment you want associated with the marker. Check this box if you want to make the marker an Encore chapter marker.
Next Available Numbered Other Numbered To the top Add an unnumbered sequence marker (CS5.5, and earlier) 1 . In a Timeline panel, move the current -time indicator to the location where you want the marker. 2 . Do one of the following: Click the Set Unnumbered Marker button in the Program Monitor or a Timeline panel .
Note: Current Marker All Markers Numbered Note: To the top Note: To the top Note: To move a sequence marker, drag the marker in a Timeline panel or the Program Monitor’s time ruler. Dragging a marker in the Source or Program Monitor’s time ruler moves the corresponding marker icon in a Timeline panel.
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Monitoring assets 167.
Using the Source Monitor and Program Monitor To the top Source Monitor and Program Monitor overview Open or clear a clip in the Source Monitor Navigate clips in the Source menu in the Source Monitor U.
Note: Note: The program monitor A. Timecode B. Playhead C. Scaling options D. Zoom scroll bar E. Resolution F. Settings button G. Button editor For details about changes to the Source monitor, Program monitor, Timecode, and Timeline panels, see this video by Todd Kopriva and video2brain.
To the top Change magnification The Source Monitor and Program Monitor scale video to fit into the available area. You can increase the magnification setting for each view to see the video in more detail.
To the top To the top Time rulers Playhead Note: Current time displays Duration display Zoom scroll bars You can also close all clips and the Source Monitor itself by clicking the Close button in the Source Monitor tab.
Note: To the top To the top To the top contract and expand the bar. You can also scroll the mouse wheel in the areas outside of the bars for the same expanding and contracting behavior. By dragging the center of the bar, you can scroll the visible part of a time ruler without changing its scale.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Composite Video Alpha All Scopes Vectorscope YC Waveform YCbCr Parade RGB Parade Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade Displays the normal video.
Playing assets To the top To the top Play video in the Source Monitor and Program Monitor Continuous Playback (CS6) Play a sequence or clip with preroll and postroll pauses Jog or shuttle playback Mov.
To the top To the top To the top not stop playback: Keyframing of effects Interface items Timeline items Metadata entry Audio parameters Titling Zooming in and out of the timeline Switching away from .
To the top To the top under 100 are interpreted as frames. In Premiere Pro CS5.5, and earlier, to jump to the previous edit point in a sequence’s targeted audio or video track, click the Go To Previous Edit Point button in the Program Monitor, or press Page Down with a Timeline panel or Program Monitor active.
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Using the Waveform monitors and vectorscope To the top To the top View a scope Vectorscope YC Waveform YCbCr Parade RGB Parade Premiere Pro has a vectorscope and waveform monitors (YC Waveform, YCbCr .
To the top To the top Vectorscope A. Target boxes B. Image profile The Vectorscope has the following controls: Intensity Adjusts the brightness of the pattern display. It does not affect the video output signal. 75% Default position. Use to check video input in which standard 75% intensity bars, like those in Premiere Pro, are used.
To the top The Intensity control adjusts the brightness of the waveforms. It does not affect the video output signal. Note: Cb and Cr are the color difference channels in a digital video signal. Cb is blue minus luma and Cr is red minus luma. Y represents luma.
Using the Reference Monitor To the top To the top Open a Reference Monitor Gang the Reference Monitor and Program Monitor The Reference Monitor acts like a secondary Program Monitor. You can use a Reference Monitor to compare different frames of a sequence side by side, or to view the same frame of a sequence using different viewing modes.
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Editing sequences and clips 183.
Creating and changing sequences To the top Timeline panels Navigate in a sequence Work with tracks Set track display Create a sequence Create a custom sequence preset Change sequence settings Change s.
To the top Timeline panel A. Sequence tabs B. Time ruler C. Video tracks D. Audio tracks A single Timeline panel appears in a frame in the lower central portion of the screen when you first launch Premiere Pro, open any of its default workspaces, or create a project.
Current time display Shows the timecode for the current frame in a Timeline panel. To move to a different time, click in the time display and enter a new time, or place the pointer over the display and drag left or right.
To the top slider to the left, or click the Zoom Out button . In Premiere Pro CS5.5, and earlier, to zoom in, drag the ends of the viewing area bar closer together. To zoom out, drag them farther apart. In Premiere Pro CS6, use the zoom scroll bar. To zoom in, drag the ends of the viewing area bar closer together.
3 . Click OK. Note: An audio track can accept only audio clips that use the matching channel type—mono, stereo, or 5.1. If you’re not sure what kind of audio your clips use, select the clip in the Project panel and read its information in the preview area.
To the top Click to hide the Eye icon (for video) or the Speaker icon (for audio) at the left edge of the track. (Each icon is a toggle switch. Click its box again to display the icon and include the track.) Note: To exclude all video or all audio tracks, Shift -click to hide the Eye icon (for video) or the Speaker icon (for audio).
To the top tracks. 2 . When the height adjustment icon appears , drag up or down. Create a sequence In many cases, you want to create a sequence that matches the characteristics of the primary assets (clips) that you’ll be editing.
All sequence settings apply to the whole sequence, and most cannot be changed after a sequence is created. When creating a sequence, you can select from among the standard sequence presets. Alternatively, you can customize a group of settings, and save the group in a custom sequence settings preset.
example, if you are editing footage captured from film. You can display timecode in simple frame numbers if your assets came from an animation program. Changing the Display Format option does not alter the frame rate of clips or sequences—it changes only how their timecodes are displayed.
To the top To the top to which you can revert in case someone accidentally alters the current sequence settings. Tracks settings Controls the number of video tracks and the number and type of audio tracks for new sequences you create. Master Sets the default channel type for the Master track in new sequences to Mono, Stereo, 5.
To the top To the top To the top To the top 2 . Select the desired settings on the General tab. For more information, see Sequence presets and settings. Change sequence preview resolution settings You can choose the video preview format and resolution in the Sequence Settings dialog box.
To the top To the top rendering Premiere Pro will make use of the color information in 10- bit assets and will upsample other assets in a sequence to generate 10 -bit preview files. Premiere Pro delivers the best preview performance when using these preview file formats on a system with a supported SD -SDI or HD - SDI card installed.
About 3:2 and 24pA pulldown When you transfer 24 -fps film to 29.97 - fps video, you use a process called 3:2 pulldown , in which the film frames are distributed across video fields in a repeating 3:2 pattern. The first frame of film is copied to fields 1 and 2 of the first frame of video, and also to field 1 of the second video frame.
To the top To the top To the top 1 . Right - click (Windows) or Control -click (Mac OS) a 24p clip in the Project panel. 2 . Select Modify > Interpret Footage. 3 . Under Frame Rate, select Remove 24p DV Pulldown. 4 . Click OK. Additionally, you can apply any of a number of third - party film- look plug - in effects to the master sequence.
You can select, move, trim, and apply effects to nested sequences as you would to any other clip. Any changes you make to the source sequence are reflected in any nested instances created from it.
To the top In Premiere Pro CS6 (Windows), the keyboard shortcut has been changed to Ctrl- Shift - F. The keyboard shortcut has not changed in Mac OS. 4 . Double -click the clip where the playhead rests to open the clip in the Source Monitor. Attach closed caption files (CS5.
Creating and playing clips To the top To the top To the top Source clips, clip instances, subclips, and duplicate clips Duplicate a clip Creating subclips Play back a clip in the Project panel In Premiere Pro, you create clips by importing files, duplicating clips, or making subclips.
To the top Titles, still images, synthetic clips Sequence clips Grouped clips To use a master clip and its subclips in another project, import the project that contains the clips. In Premiere Pro CS5.5 and later, you can create a subclip from any merged clip in the same way you would any other subclip.
More Help topics Legal Notices | Online Privacy Policy 202.
Adding clips to sequences To the top Adding clips to a sequence Open a sequence Targeting tracks Drag video and audio to a sequence Drag video only or audio only to a sequence Add a track while adding.
To the top To the top Adding a clip by inserting it between clips If one or more tracks is locked, an insert edit shifts clips in all unlocked tracks. To prevent an insert edit from shifting clips in a track, lock the track. Alternatively, click the Sync Lock button in the header of every track you want to shift.
To the top Targeting a track while dragging a clip to a sequence When you add clips to a sequence by pasting, (or keyboard shortcuts), you must specify target tracks in advance. You can target more than one video track or more than one audio track at a time.
To the top To the top To the top Note: For information about creating tracks that are compatible with your assets, see Work with tracks and Create a custom sequence preset. The Program Monitor can help you determine where to position a clip you’re adding to a sequence.
To the top To the top To the top 1 . Double -click a clip in a Project panel or sequence to open it in the Source Monitor. 2 . Place the playhead at the point in the sequence where you want to insert the clip. 3 . In the Timeline panel, click the headers of the tracks where you want to insert the source clip’s components to target them.
To the top frames in both the source clip and sequence are critical. If the marked source and sequence durations are different, Premiere Pro alerts you to the discrepancy and provides alternatives to resolve it. Make a three - point edit 1 . In a Project panel, double - click a clip to open it in the Source Monitor.
To the top To the top To the top example, if Video1 and Audio1 are locked, it will automate to Video 2 and Audio 2, or the lowest audio track with the correct channel type.
To the top To the top Note: You cannot use the Edit > Undo command to undo a footage replacement. However, you can use the Clip > Replace Footage command again to relink a clip to its original source file. For more information about Replacing Source Footage, see this video from Learn By Video and Video2Brain by Maxim Jago.
Working with offline clips To the top To the top Create an offline clip Edit an offline clip Relink an offline clip Convert an online clip to an offline clip An offline clip is either a clip that has been unlinked from its source file, or a logged clip that you still have to capture.
To the top To the top Note: You cannot edit ‘contains’ or ‘audio format’ for an offline clip if it is located in the timeline. Relink an offline clip You can link an offline clip to a source file, even to a source file different from the one from which the offline clip was made.
Trimming clips (CS6) To the top To the top Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline trimming (CS6) Making ripple .
To the top Note: You can zoom into an audio waveform in the Source Monitor to better identify locations for markers, In points, or Out points. 1 . Double -click an audio clip in the Project panel to open it in the Source Monitor.
Note: Note: Note: Note: To the top Dragging the In/Out Grip for a video clip or track For an audio clip, you can also drag the In/Out Grip, or the grey area between the In point and Out point above the waveform to the left or right.
Note: Note: Timeline trimming has been enhanced in Premiere Pro CS6 with the ability to select edit points and adjust them using the mouse, keyboard shortcuts, or the numeric keypad. Regular, ripple, and rolling trim functions have been enhanced as part of the improved Timeline trimming feature in Premiere Pro CS6.
Note: Select Nearest Edit Point You can allow the Selection tool to select an edit point as a Ripple or Roll trim without the modifier key. Choose this option in Edit > Preferences > Trim (Windows), or Premiere Pro > Preferences > Trim (Mac OS).
Go to Next Edit Point and Go to Previous Edit Point Go to Next Selected Edit Point and Go to Previous Selected Edit Point Go to Next Edit Point on Any Track and Go to Previous Edit Point on Any Track .
Ripple Trim Previous Edit to Playhead and Ripple Trim Next Edit to Playhead Note: Note: To the top Ripple trims the previous or next edit point to the Playhead.
You can perform a ripple or rolling edit either directly on the tracks in the Timeline. About ripple and rolling edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as ripple edits and rolling edits .
Note: To the top Make a rolling (extend) edit to the playhead Do the following: 1 . Click a track header to target the track containing the clip you want to trim. 2 . Drag the playhead to the location in the sequence to which you want to extend the clip In point or Out point.
In this slip edit, a clip is dragged left, moving its source In and Out points later in time. 1 . Select the Slip tool . 2 . Position the pointer on the clip you want to adjust, and drag left to move the In and Out points later in the clip, or drag right to move the In and Out points earlier in the clip.
To the top Note: Press Option+Shift+, (Mac OS). To slide clip selection left one frame: Press Alt+, (Windows). Press Option+, (Mac OS). To slide clip selection right five frames: Press Alt+Shift+. (Windows). Press Option+Shift+. (Mac OS). To slide clip selection right one frame: Press Alt+.
video view. The trim buttons and shift counters are placed directly below the video. All of the sequence's video tracks are composited together and the audio heard during playback is all of the sequence's audio tracks mixed together.
You can dynamically trim footage one frame at a time using J-K - L shortcuts. First select the edit point, then press the K key, and then tap either the J, or the L keys.
To the top The History panel shows each trim adjustment as an individual entry, whether using the keyboard, clicking one of the buttons or using J - K - L shortcuts. Entering or exiting trim mode does not change the entries in the History panel, so you can still undo one or more of the trim adjustments that were made during any trim mode session.
Note: Note: Work in the Trim Monitor The Trim Monitor displays clip In and Out points at a cut so that you can see precisely which frames you are cutting. The left monitor shows the outgoing clip to the left of the edit point, and the right monitor shows the incoming clip to the right of it.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top 2 . Click in the Sync Lock box in the header of any track you want to shift when the ripple edit is made. 3 . In a Timeline, place the playhead at the edit point.
Trimming clips (CS5 and CS5.5) To the top To the top Working with In and Out points Working with audio clips in the Source Monitor Working with clips in the Source Monitor Timeline Trimming (CS5.
To the top Note: Source Monitor. To zoom in on all channels simultaneously, Shift -drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor. The waveform of one or all channels, and the decibel ruler, will expand or contract vertically.
Note: Note: Note: Note: To the top Dragging the audio In/Out Grip for an audio clip or track The In and Out points move together, keeping the duration between them constant. This technique also works with sequence In and Out points using the Program Monitor or a Timeline panel.
Note: Note: Note: To the top Click the selection tool and do one of the following: To edit the In point, drag the left edge of the clip once the Trim -in icon appears. To edit the Out point, drag the right edge of the clip once the Trim- out icon appears.
You can perform a ripple or rolling edit either directly on the tracks in the Timeline or using the Trim Monitor. About ripple and rolling edits When you want to adjust the cut, or edit point, between two clips, use variations of simple trimming known as ripple edits and rolling edits .
Note: Timeline panel during (above) and after (below) a roll edit Make rolling edits (extend edits) with the playhead You can move the In point or Out point of a clip in a sequence to the playhead, without leaving gaps in the sequence. This type of editing is sometimes called extending an edit, or using extend edit commands.
To the top Timeline panel during (above) and after (below) a ripple edit When using the Selection tool, you can toggle from the Trim- in or Trim- out icon to a Ripple edit icon by pressing the Ctrl (Windows) or Command (Mac OS) key. Release Ctrl (Windows) or Command (Mac OS) to revert to the Selection tool.
To the top To the top Premiere Pro updates the source In and Out points for the clip, displaying the result in the Program Monitor and maintaining the clip and sequence duration. Make a slide edit A slide edit shifts a clip in time while trimming adjacent clips to compensate for the move.
Note: Preview the edit in the Trim Monitor To preview the edit once, click the Play Edit button . To preview the edit repeatedly, click the Loop button .
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Trim with Speech Analysis You can add In and Out points to speech analysis text to select a portion of a master clip.
Editing multi - camera sequences (CS5 and CS5.5) To the top To the top About multi -camera editing About the Multi- Camera Monitor Display the Multi -Camera Monitor Add clips for multi -camera editing.
Note: To the top To the top Note: To the top Note: Note: Clip Start Clip End Timecode Numbered Clip Marker To the top you click a camera preview to make it active and record footage from that camera. The active camera is indicated by a yellow border when in playback mode and a red border when recording.
To the top Note: Note: To the top To the top Note: To the top 3 . Select the video and audio tracks in the nested sequence, and then choose Clip > Multi -Camera > Enable.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: To the top To the top clicking the camera’s preview in the Multi - Camera Monitor. No recording occurs until you switch the active camera.
Editing multi - camera sequences (CS6) To the top Note: About multi -camera editing Mark Clips for Synchronization Create a multi -camera source sequence Enabling audio in the multi - camera source se.
To the top camera flash, or other technique, at the same time. Keep each camera recording to maintain synchronization. After you capture, or ingest footage in Premiere Pro, use the following workflow to edit the footage: 1. Mark clips for synchronization.
To the top In Points Out Points Timecode Clip markers To the top To the top To the top Create a multi-camera source sequence After the clips are marked, select them in the Project panel and use the Create Multi -Camera Source Sequence menu command to create a new multi -camera source sequence.
To the top Note: To the top To the top Note: Note: be enabled. To enable audio, do the following: a . Unlink audio from video by selecting the clips and then choosing Clip > Unlink. You can also Alt - click (Win) or Option - click (Mac OS) the audio portion of the clip.
To the top To the top Note: To the top Note: To the top To the top To the top 7 . When you are done recording, click the Stop button or the Record button to get out of recording mode. You can then use the playback controls to preview your sequence without recording over it.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Adjust multi-camera edits in the Timeline Do either of the following: To change the camera in a multi -camera target sequence, select a clip in the Timeline and choose Clip > Multi- Camera > Camera [1,2,3,4].
Synchronizing audio and video with Merge Clips (CS5.5 and later) To the top To the top Merge clips in the Project panel Merge clips in the Timeline panel Synchronize clips in the Timeline panel Editing with merged clips Use timecode from an audio master clip to create a merged clip (CS6) Merged Clips limitations Premiere Pro CS5.
To the top To the top Drag the component clips into the Project panel. Choose Clip > Merge Clips. The Merge Clips dialog launches. Click OK. Your merged clip will now appear in the Project panel. Note: Clips that are merged in the Timeline are synchronized from Clip Start for each component clip.
To the top To the top Set the File popup menu to the component clip you wish, and then enter metadata for the clip. Set the File popup menu to All Files, and then enter metadata for the merged clip. Any data entered into a property will be entered into the XMP for each of the component files that make up the merged clip.
Modifying clip properties with Interpret Footage To the top Interpret footage You can modify the properties of a clip by selecting options in the Interpret Footage dialog box. For more information about using the Frame Rate options, see Change the frame rate of a clip.
Creating special clips (synthetics) To the top Wipe Color Background Color Line Color Target Color Numeral Color Cue Blip On Out Cue Blip On 2 Cue Blip At All Second Starts To the top Note: To the top.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top To the top For HD bars and tone, do the following: 1 . Choose File > New > HD Bars and Tone . 2 . A dialog launches with settings based on the existing sequence.
Correcting mistakes To the top To the top Correct mistakes History panel Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work. You can undo only those actions that alter the video program; for example, you can undo an edit, but you cannot undo scrolling in a window.
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Rearranging clips in a sequence To the top Move clips Split or cut one or more clips with the Razor tool Remove clips from a sequence Lift and paste frames Extract and paste frames Delete clips and cl.
To the top To the top To the top To the top 1 . Select the clip in the sequence. 2 . Using your numeric keypad with Num Lock on, type + (plus) and the number of frames that you want to move the clip to the right, or type - (minus) and the number of frames you want to move the clip to the left.
To the top To the top To the top To the top sequence In Point and Out point. If only part of a clip appears between the sequence In point and Out point, Premiere Pro will extract only that part of the clip from the sequence, letting the rest of the clip remain.
To the top To the top 4 . Do one of the following: To overwrite the pasted clips, choose Edit > Paste. To insert the pasted clips, choose Edit > Paste Insert. The clip or clips are pasted into the sequence, and the playhead jumps to the end of the pasted clip or clips.
Remove alerts with the Events panel Premiere Pro Events lists warnings, error messages, and other information you can use to identify and troubleshoot problems, particularly those associated with plug - ins and other components from third - party developers.
Rendering and previewing sequences To the top Define the work area for rendering Define the area for rendering using In and Out points (CS6) Render a preview file for a section of a sequence (CS5.
To the top To the top To the top Dragging the work area markers to expand the work area Position the playhead, and press Alt+[ (Windows) or Option+[ (Mac OS) to set the beginning of the work area. Position the playhead, and press Alt+] (Windows) or Option+] (Mac OS) to set the end of the work area.
To the top To the top To the top To the top Render a preview file for a section of a sequence setting In and Out points: 1 . Set In and Out points to mark the area you want to preview.
To the top To the top You can set an option to automatically scroll a sequence when it is wider than the visible area in its Timeline panel. 1 . Choose Edit > Preferences > General (Windows) or Premiere Pro > Preferences > General (Mac OS).
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Working with clips in a sequence To the top To the top To the top Find a clip in any sequence with Clip Usage View the source of a sequence clip in the Project panel Analyze speech for text XMP metada.
speech to text metadata and create a simple video player with which you can navigate to the places where words are spoken. Adobe provides another white paper and demonstration on the Adobe website that shows an alternative method involving Soundbooth to accomplish a similar result.
To the top Speech Analysis supports reference scripts only in the UTF -8 encoded text format, including Adobe Story scripts, which have the .astx filename extension. The closeness of the match between the embedded script text and the recorded dialog determines the accuracy of matched- script text.
To the top To the top To the top Selecting a range of clips by dragging a marquee To select all clips that exist on and after a certain time on one track, select the Track Select tool and click the clip at the beginning of the time span you want to select.
2 . Drag the edge of a clip close to the edge of another clip or a marker or the playhead. A vertical line appears when alignment occurs. You can toggle the snap feature using a keyboard shortcut (S) even during an editing operation, such as moving or trimming a clip.
Editing audio 272.
Overview of audio and the Audio Mixer Note: To the top Standard Mono (monophonic) Adaptive 5.1 Audio tracks in a sequence (CS6) Channels in audio clips Mixing audio tracks and clips Processing order f.
To the top Note: To the top To the top Note: To the top exceeds the available tracks in a sequence. It is also useful when the number of channels in an audio clip doesn’t match the number of channels in the default audio tracks.
To the top To the top When making audio adjustments of any kind, determine whether the change is applied to the entire track or to individual clips. Audio tracks and clips are edited in different ways. Use the Show/Hide Tracks command in the Audio Mixer menu to display only the information you want to see and save screen space.
Audio Mixer A. Pan/balance control B. Automation mode C. Mute Track/Solo Track/Enable Track For Recording buttons D. VU meters and faders E. Track name F. Clipping indicator G. Master VU meter and fader By default, the Audio Mixer displays all audio tracks and the master fader, and the VU meters monitor output signal levels.
Note: Note: Audio Mixer A. Show/Hide Effects and Sends B. Effects C. Sends D. Track Output Assignment E. Automation Mode Modify the Audio Mixer 1 . Choose any of the following from the Audio Mixer menu: To display or hide specific tracks, choose Show/Hide Tracks, use the options to mark the tracks you want to see and click OK.
Note: Solo in Place Monitor Mono Channels Monitor Stereo Pairs Note: Audio Meter panel A. LED Meter (gradients in the meter panel) B. Solo channels C. Clipping indicator D. Peak indicator E. Valley indicator 2 . Right - click the panel and use the options to do the following: View peaks as static peaks or dynamic peaks.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Work with submixes Work with tracks Record audio from a microphone or another a.
Working with clips, channels, and tracks To the top Note: Note: Mapping source and output audio channels Audio channel icons Extract audio from clips Render and replace audio Break a stereo track into.
Note: Note: To the top reorder and enable/disable all of the available audio channels from the component clips. Map P2 clip audio for export to P2 You can export audio in P2 sequences back to their original four channels if you map clip audio channels to 5.
To the top To the top To the top Note: To the top Right front channel Left surround channel Right surround channel Center front channel Low frequency effects channel Extract audio from clips You can extract audio from clips and generate new audio master clips in a project.
Note: To the top To the top To the top You can apply the Modify Clip command to a mono clip only in the Project panel, before the clip appears in a Timeline panel.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top The audio clips must have the same channel type and each clip must be on a different track.
Editing audio in a Timeline panel To the top Set sample - based audio In and Out points Link and unlink video and audio clips Create split edits Set sample -based audio In and Out points In and Out points are set at time - base divisions—that is, between video frames.
To the top Note: Note: Move Into Sync Slip Into Sync To the top right. To adjust the Out point, position the pointer over the right edge of the clip’s audio so that the trim tail icon appears, and drag left or right. 5 . Use the waveform display or play the audio to make sure that you adjusted the In and Out points properly.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: A. Clip trimmed for J- cut B. Clip trimmed for L -cut Create a split edit 1 . If necessary, click the triangle to the left of each track name in a Timeline panel to expand the audio tracks you want to adjust.
Recording audio To the top To the top To the top To the top Capturing analog audio Set the location for captured audio Preparing the audio input channel for recording Record audio from a microphone or.
To the top the Audio Mixer for each track you add to a Timeline. 5 . In the Audio Mixer, click the Enable Track For Recording icon for the track you added for your audio device. In Premiere Pro CS6, the Enable Track For Recording icon has been replaced with an “R” icon.
More Help topics Troubleshoot analog capture problems in Premiere Pro Premiere Pro Wikia: Setting up a USB microphone for use with Premiere Pro on Windows XP Legal Notices | Online Privacy Policy 290.
Adjusting volume levels To the top To the top To the top To the top Monitor volume level from Timeline, or Program Monitor Monitor volume level while capturing Specify whether to play audio while scru.
To the top To the top To the top to adjust the volume that you use to set other effect options. It’s often simpler to adjust the Volume effect in a Timeline panel.
To the top To the top To the top To the top To the top Show Clip Volume Lets you change only a clip’s Volume Level. Show Track Keyframes Lets you animate many audio track effects, including Volume, Mute, and Balance. Show Track Volume Lets you change only a track’s volume level.
1 . Select a sequence that contains audio in two or more audio tracks. 2 . Select Window > Workspace > Audio. The Audio Mixer panel appears in the central drop zone, with each audio track of a Timeline panel assigned to its own bus on the mixer.
Recording audio mixes To the top To the top To the top Record changes to sound tracks Preserve a track property while recording an audio mix Audio Mixer automation modes Set Automatch Time for Touch mode and Read mode Specify automated keyframe creation Using the Audio Mixer, you can apply changes to audio tracks as a sequence plays back.
To the top To the top you replay the audio with the track’s automation menu set to Read, Touch, or Latch, Premiere Pro plays back the track with the adjustments you made. As you make adjustments in channels of the Audio Mixer, Premiere Pro applies the changes to their respective tracks by creating track keyframes in a Timeline panel.
Advanced mixing To the top To the top Work with submixes Route tracks with sends Downmixing to fewer channels Change 5.1 audio to stereo or mono Routing track output Route or turn off track output Work with submixes A submix is a track that combines audio signals routed to it from specific audio tracks or track sends in the same sequence.
submix track for effects processing. The submix can return the processed signal to the mix by routing it to the master track, or it can route the signal to another submix. A send includes a level knob that controls the ratio of the send track volume to the submix volume.
To the top To the top To the top Choosing from Selected Parameter menu 4 . Change the value of the property using the control knob above the Send Assignment Properties menu at the bottom of the sends list.
To the top Route or turn off track output Do any of the following: To route track output to another track, select a submix or Master from the Track Output Assignment menu at the bottom of each track in the Audio Mixer. To completely turn off track output, click the Toggle Track Output icon to hide the speaker icon for a track in a Timeline panel.
Editing audio in Adobe Audition (CS5.5, and later) To the top Working with Adobe Audition Adobe Audition lets you use advanced post- production techniques to create and edit audio. If you have installed Adobe Audition, you can apply the Edit In Adobe Audition command to an audio clip.
Editing audio in Adobe Soundbooth (CS5) To the top To the top Edit audio in Adobe Soundbooth Undoing edits made in Adobe Soundbooth Adobe Soundbooth lets you use advanced techniques to edit audio. If you have installed Adobe Soundbooth, you can apply the Edit In Adobe Soundbooth command to an audio clip.
Panning and balancing To the top Panning and balancing in the Audio Mixer Pan or balance a stereo track Pan or balance a 5.1 surround track Pan or balance a 16 -channel track Pan or balance a track in a Timeline panel By default, all audio tracks output to the sequence master audio track.
To the top To the top To the top Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C. Center percentage For best results monitoring pan or balance settings, ma.
To the top Selecting channel 12 for the output from the left- front channel of a 5.1 audio track A. Direct Output Assignment buttons for a stereo track B. Direct Output Assignment buttons for a monaural track C. Direct Output Assignment buttons for a 5.
Titling and the Titler 306.
Creating and editing titles To the top To the top Create new titles Open, import, or export a title About safe margins in the Titler Choose, create, and import title templates Show video behind the title The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well.
To the top To the top Note: Titles open in the Titler, not the Source Monitor. Import a title file You can import a title file as you would any other source file. 1 . Choose File > Import. 2 . Select a title and click Open. Note: In addition to importing Premiere Pro titles and Premiere Elements titles with the .
To the top To restore the default set of templates, choose Restore Default Templates from the Templates panel menu. 2 . Click OK. Rename or delete a template With a title open, click the Templates button and select a template. To rename the selected template, choose Rename Template from the Templates panel menu.
Creating and formatting text in titles To the top Enter text in titles Format text in titles Work with paragraph text Create tab stops in titles Enter text in titles When adding text to a title, you can use any font on your system, including Type 1 (PostScript), OpenType, and TrueType fonts.
To the top 2 . In the drawing area, click where you want the text to begin. 3 . Click or drag to create a second point. 4 . Continue clicking until you create the path shape you want. 5 . Type the text. When you type, the text begins along the top or right edge of the path.
To the top To the top Font Size Specifies the font’s size, in scan lines. Aspect Specifies the horizontal scale of the selected font. This value is some percentage of the font’s natural aspect ratio. Values less than 100% narrow the text. Values above 100% widen the text.
To create a tab stop with center- justified text, click the Center tab marker . To create a tab stop with right -justified text, click the Right Justify tab marker . 5 . Click OK to close the Tab Stops dialog box. The selected text box contains the tab stops you specified.
Drawing shapes in titles To the top To the top To the top Create shapes Change the shape of a graphic object or a logo Draw straight segments with Pen Tool Draw curves with Pen Tool Adjust object anchor points and curves Create shapes You can use the drawing tools in the Titler to create various shapes, such as rectangles, ellipses, and lines.
To the top 2 . Position the tip of the pen point where you want the straight segment to begin, and click to define the first object anchor point. The object anchor point remains selected (solid) until you add the next point. Note: The first segment you draw is not visible until you click a second object anchor point.
To the top 6 . Continue dragging Pen Tool from different locations to create additional points. To close the path, position Pen Tool over the first object anchor point. Click or drag to close the path. To leave the path open, Ctrl -click anywhere away from all objects or select the Selection tool.
Join Type Specifies how the ends of adjoining path segments are joined. The Miter option joins path segments using pointed corners. The Round option joins path segments using rounded corners. The Bevel option joins path segments using squared corners.
Add images to titles To the top To the top To the top Place a logo in a title Place a logo in a text box Return a logo to its original size or aspect ratio Use the Titler to place images in a title, such as adding a logo graphic. You can either add the image as a graphic element or place it in a text box to become part of the text.
Working with text and objects in titles To the top To the top Change the stacking order of objects in titles Align and distribute objects in titles Transform objects in titles Change the stacking order of objects in titles An object is any shape or text box you create in the Titler.
To the top Distribute objects in titles A distribution option evenly spaces selected objects between the two most extreme objects. For example, for a vertical distribution option, the selected objects are distributed between the highest and lowest selected objects.
Enter a value for Rotation in the Title Properties panel, or expand the Rotation category heading and drag the angle control. Distort an object or multiple objects 1 .
Fills, strokes, and shadows in titles To the top To the top To the top Set a fill for text and objects Fill type options Add a sheen Add a texture for text or object Add a stroke to text or object Cha.
To the top To the top 2 . Select Sheen in the Title Properties panel. 3 . Click the triangle next to Sheen and set its options. Note: If the object’s texture obscures the sheen, deselect the Texture option in the Title Properties panel. Add a texture for text or object You can map a texture to any object’s fill or stroke.
To the top To the top To the top 2 . In the Properties section of the Title Properties panel, expand the Strokes category. 3 . Click Add next to either Inner Stroke or Outer Stroke. 4 . Set any of the following options: Type Specifies the type of stroke you apply.
Rolling and crawling titles To the top To the top To the top Create a rolling or crawling title Roll/Crawl Timing options Convert a title to another type Though static titles, graphics, and logos suffice for some projects, many others require titles that move across the screen.
Titler text styles To the top To the top To the top To the top Modify the style swatch display Change the default characters in swatches Create a style Apply a style to an object Specify the character.
To the top To the top To the top 1 . Select the object to which you want to apply the style. 2 . In the Title Styles panel, click the style swatch that you want to apply. To prevent the font type in the style from being applied to the font in your title, Alt -click (Windows) or Option -click (Mac OS) the style swatch.
Effects and transitions 328.
About effects To the top To the top To the top Fixed effects Standard effects Clip -based and track - based effects Effect plug -ins GPU -accelerated effects High - bit - depth effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program.
To the top To the top Audio effects can be applied to either clips or to tracks. To apply track -based effects, use the Audio Mixer. If you add keyframes to the effect, you can then adjust the effect either in the Audio Mixer or a Timeline panel.
1 . Choose Project > Project Settings > General. 2 . In the Video Rendering And Playback section, select the appropriate renderer: Mercury Playback Engine GPU Acceleration or Mercury Playback Engine Software Only.
To the top Here is a list of the additional effects and transitions that can be accelerated by CUDA in Adobe Premiere Pro CS5.5 and later. Directional Blur Fast Blur Invert Additive Dissolve Film Diss.
Applying, removing, finding, and organizing effects To the top To the top Find and group effects Apply effects to clips Copy and paste clip effects Remove selected effects from a clip Remove all effec.
To the top To the top To the top You can apply one or more Standard effects to a clip by dragging effect icons from the Effects panel to a clip in a Timeline panel. Alternatively, select the clip and drag the effect icon to the Effect Controls panel. In Premiere Pro CS6, select the clip and double click an effect in the Effects panel to apply it.
To the top Click a spot in the time ruler above the selected clip to move the current- time indicator to that location. 2 . Do one of the following: From the Effect Controls panel menu, choose Remove Effects Select Clip > Remove Effects Right- click a clip in a Timeline panel, and select Remove Effects.
Viewing and adjusting effects and keyframes To the top View effects in the Effect Controls panel View keyframes for an effect property in the Timeline panel Adjust or reset controls in the Effect Controls panel The Effect Controls panel lists all the effects that are applied to the currently selected clip.
To the top To the top Note: It is not necessary to position the current -time indicator over a clip to activate the Effect Controls panel. To expand or collapse video or audio effects headings, click the Show/Hide button in the heading. When the arrows are pointing up , the heading is expanded to reveal all the effects in that section.
Applying effects to audio To the top Applying audio effects in the Audio Mixer Apply a track effect in the Audio Mixer Adjust audio track effects in a Timeline Copy and paste track effects Designate a.
To the top To the top To the top In the Audio Mixer, track effect options are controlled after an effect is selected in the Effects And Sends panel. If the Effects And Sends panel isn’t visible, display it by clicking the Show/Hide Effects And Sends triangle on the left side of the Audio Mixer.
To the top To the top To the top To the top 2 . Select Edit > Copy. 3 . Place the current -time indicator at the location where you want to paste the keyframes.
To the top VST Editor panel for DeNoiser effect Select a preset for a VST effect Right- click (Windows) or Control -click (Mac OS) the effect name in the Effects And Sends panel of the Audio Mixer, and choose a preset listed at the bottom of the menu.
Working with audio transitions To the top To the top To the top To the top Specify the default audio transition Set the default duration for audio transitions Crossfade between audio clips Fade in or fade out clip audio Adjust or customize an audio transition You can apply crossfades for audio transitions between clips.
To the top audio clip. You can also select the applied transition in a Timeline. Then, in the Effect Controls panel, choose End At Cut from the Alignment menu.
Effect presets To the top To the top Effect presets Create and save an effect preset Apply an effect preset Work with a custom bins and preset bins Effect presets Adobe recommends Have a tutorial you would like to share ? Applying Effects to Groups of Clips Paul Trani Apply effects to groups of clips.
To the top To the top Scale Scales the source keyframes proportionally to the length of the target clip. This action deletes any existing keyframes on the target clip. Anchor To In Point Retains the original distance from the clip In point to the first effect keyframe.
To rename a bin, select the bin, then click the bin name, and then type a new name and press Enter (Windows) or Return (Mac OS). Skip steps 2 and 3. To delete a bin or an item in a bin, select the bin or bin item, and then click the Delete Custom Items button at the bottom of the Effects panel.
Stabilize motion with the Warp Stabilizer effect (CS6) To the top To the top Note: Cancel Stabilization Result Smoothness Method Stabilize with the Warp Stabilizer effect Warp Stabilizer settings You can stabilize motion with the Warp Stabilizer effect.
Note: Framing Note: Auto- scale Additional Scale Detailed Analysis Rolling Shutter Ripple Crop Less < -> Smooth More Synthesis Input Range (seconds) Synthesis Edge Feather Synthesis Edge Cropping Hide Warning Banner Subspace Warp (default): Attempts to warp various parts of the frame differently to stabilize the entire frame.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Warp Stabilizer workflow tips 1 . Apply the Warp Stabilizer. 2 . While Warp Stabilizer is analyzing your footage, you can adjust settings or work on a different part of your project.
Color correction and adjustment To the top Note: Adjusting color and luminance Set up a Color Correction workspace Apply the Color Correction effects Quickly remove a color cast Make quick luminance c.
To the top Note: Note: Vectorscope YC Waveform YCbCr Parade RGB Parade All Scopes Vect/YC Wave/YCbCr Parade Vect/YC Wave/RGB Parade To the top Note: For information about scopes, see Waveform monitors and vectorscope .
Note: Note: To the top 4 . Move the current- time indicator to a frame that provides the best example of colors that need to be adjusted. 5 . (Optional) Do any of the following to set preview options when correcting color: To view only the luminance values in a clip, choose Luma from the Output menu.
Note: To the top Auto Black Level Auto Contrast Auto White Level To the top Hue Angle Balance Magnitude Balance Gain Balance Angle become a neutral black.
To the top Color correction adjustments using the color wheel A. Hue Angle B. Balance Magnitude C. Balance Gain D. Balance Angle The Saturation slider controls the color saturation in the video. Moving the slider to 0 desaturates the image so only the luminance values show (an image made up of white, grays, and black).
Note: To the top Luma Curve RGB Curves Note: Rotating the outer ring of the color wheel (left) changes the hue angle (right). To shift the colors toward a target color with gain and magnitude adjustment, drag the Balance Magnitude circle out from the center toward the color you want introduced into the image.
To the top Black Output slider White Output slider 6 . Do one of the following to make curve adjustments: To adjust the luminance, click to add a point on the Luma or Master graph and drag to change the shape of the curve. Bowing the curve upward lightens the clip and bowing the curve downward darkens the clip.
Black Level eyedropper Gray Level eyedropper White Level eyedropper Black Input Level slider Gray Input Level slider White Input Level slider Note: To the top white levels of the waveform are within 7.5 to 100 IRE. This ensures that the levels are within broadcast standards.
H S B (in the HSB section) R G B (in the RGB section) Note: To the top Adobe Color Picker A. Selected color B. Color field C. Color slider D. Adjusted color E. Original color F. Color values 1 . In the Effect Controls panel, click the Color swatch property for an effect to display the Color Picker.
Note: To the top Note: Soften Edge Thinning To the top Tonal Range Definition control A. Shadow threshold B. Shadow softness C. Highlight softness D. Highlight threshold 5 . Drag the Shadow Threshold and Highlight Threshold sliders to define the shadow and highlight tonal ranges.
To the top To the top Note: To the top 1 . In a Timeline panel, select the clip you want to adjust so it appears in the Program Monitor. 2 . If you want to replace a color in the displayed clip with a color in another clip in your project, open that other clip in the Source Monitor.
To the top Note: To the top Note: Move the pointer into the Clip Sample (the pointer turns into an eyedropper) and click to select a color. Click the color swatch, select a color in the Adobe Color Picker, and then click OK to close the Adobe Color Picker.
None Directional Omni Spotlight Note: Center Major Radius Projected Radius Minor Radius Angle Intensity Focus Note: Ambient Light Color Ambience Intensity Surface Gloss Surface Material Exposure To the top 2 . In the Effect Controls panel, click the triangle to expand the Lighting Effects.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy A bump layer in the Lighting Effects lets you use the pattern or texture from a clip to control how light reflects off an image. Using a clip with textures like paper or water can create a 3D -like lighting effect.
Adjustment Layers (CS6) To the top To the top Adjustment Layers Create an adjustment layer Resize an adjustment layer to highlight an area Blend modes and adjustment layers Transform effect and adjust.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 1 . Edit an adjustment layer into a track above two or more clips. 2 . With the adjustment layer selected, type "Transform" in the Rapid Find box of the Effects panel.
The rolling shutter repair effect (CS6) Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Note: A common problem for DSLR and other CMOS sensor - based cameras is that they typically have a lag time between scanning lines of video.
Three -way Color Corrector effect (CS6) Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Output menu Split view Master color whe.
Audio effects and transitions reference To the top To the top Audio effects and transitions list Audio effects Audio crossfade transitions For video effects, see Video effects and transitions reference.
Bandpass effect The Bandpass effect removes frequencies that occur outside the specified range, or band of frequencies. This effect is available for 5.1, stereo, or mono clips. Center Specifies the frequency at the center of the specified range. Q Specifies the width of the frequency band to preserve.
In the Effect Controls panel, Custom Setup for this effect shows Detected Crackles and Output monitors. The first shows the input signal with any detected crackles. The second shows the output signal with the crackles removed. Threshold Determines the detection level for the crackles.
output increases by only 1 dB. Attack Sets the time (between 0.1 and 100 milliseconds) that the compressor takes to respond to a signal that exceeds the threshold. Release Specifies the time (between 10 and 500 milliseconds) it takes for the gain to return to the original level when the signal falls below the threshold.
The Invert (audio) effect inverts the phase of all channels. This effect is available for 5.1, stereo, or mono clips. MultibandCompressor effect The MultibandCompressor effect is a three -band compressor with controls for each band. Use this effect instead of the compressor in Dynamics when you need a softer sounding compressor.
To the top using graphical controls in the Custom Setup view, or by changing values in the Individual Parameters view. This effect is available for 5.1, stereo, or mono clips. Pitch Specifies the change in pitch in semitone steps. The adjustable range is between –12 and +12 semitones.
Note: Though the Exponential Fade transition is similar to the Constant Power transition, it is more gradual. More Help topics Legal Notices | Online Privacy Policy 374.
Creating common results To the top To the top To the top To the top To the top Fade in video Picture -in - picture (PIP) and split screen Zoom and pan a still image Place lightning over part of a clip Create a Jacob’s Ladder Make reverb ring out This section contains procedures for achieving of some of the most popular results with Premiere Pro.
To the top Pull Direction A Stability value that is too low doesn’t allow the lightning to be stretched into an arc before it snaps back. A value that is too high lets the lightning bolt bounce around.
Duration and speed To the top To the top To the top View the total duration of selected clips Change the default duration for still images Change speed and duration for one or more clips Blend frames for smooth motion Freeze a frame View the total duration of selected clips 1 .
3 . Do any of the following: To change the duration without changing the speed of the selected clips, click the gang button so that it shows a broken link . Unganging also allows you to change the speed without changing the duration. The speed remains at the percentage set while you trim the clip or clips.
spread out beyond one frame, the halves form a speed change transition. Here, you can apply linear or smooth curves to ease in or ease out the change between playback speeds. For a video tutorial about variable speed changes, see the Adobe website . For a video tutorial about time remapping, see the Creative COW website .
Moving a speed keyframe up or down. Note its separable halves. A. Speed keyframe B. Rubber band 3 . Do one of the following: Drag the rubber band on either side of the speed keyframe up or down to increase or decrease the playback speed of that portion.
every clip in a video track. Zoom in, if necessary, to make enough room in the clip to display the menu.) A horizontal rubber band that controls the speed of the clip appears across the center of the clip. The clip is shaded in contrasting colors above and below the 100% speed demarcation.
To the top To the top 3 . Click the Toggle Animation button next to the word Speed, to set it to the off position. This action deletes any existing speed keyframes, and disables Time Remapping for the selected clip. Note: To re - enable Time Remapping, click the Toggle Animation button back to the on position.
Blue curve control in gray area between halves of a freeze frame speed keyframe 6 . (Optional) To change the acceleration or deceleration of the speed change, drag either of the handles on the curve control. The change of speed eases in or eases out according to the curvature of the speed ramp.
Video effects and transitions reference To the top Effects list Transitions list Adjust effects Blur and Sharpen effects Channel effects Color Correction effects Distort effects Generate effects Image.
Color correction effects Distort effects Generate effects Image control effects 385.
Keying effects Noise and grain effects Perspective effects Stylize effects Time effects Transform effects 386.
To the top Utility effects Video effects Transitions list 3D Motion transitions Cube Spin Curtain (Windows only) Doors (Windows only) Flip Over Fold Up (Windows only) Spin (Windows only) Spin Away (Wi.
To the top Wipe transitions Barn Doors Wipe transition Gradient Wipe transition Inset Wipe transition Wipe transition Transition effects Adjust effects Auto Color, Auto Contrast, and Auto Levels effects The Auto Color, Auto Contrast, and Auto Levels effects make quick global adjustments to a clip.
Extract effect The Extract effect removes colors from a video clip, creating a grayscale image. Pixels with luminance values less than the Black Input Level or greater than the White Input Level are made black. Everything between those points will appear gray or white.
To the top Blur and Sharpen effects Antialias effect (Windows only) The Antialias effect blends the edges between areas of highly contrasting colors. When blended, colors create intermediate shades that make transitions between dark and light areas appear more gradual.
To the top Gaussian Blur effect The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both. Ghosting effect (Windows only) The Ghosting effect overlays transparencies of the immediately preceding frames on the current frame.
Blend With Original The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top. The higher you set this value, the less the effect affects the clip. For example, if you set this value to 100%, the effect has no visible result on the clip.
To the top Set Matte effect The Set Matte effect replaces the alpha channel (matte) of a clip with a channel from a clip in a different video track. This creates traveling matte results. Note: The Set Matte effect was originally developed for After Effects.
How To Make Color Safe How to reduce signal amplitude: Reduce Luminance Reduces a pixel’s brightness by moving it toward black. This setting is the default. Reduce Saturation Moves the pixel’s color toward a gray of similar brightness, making the pixel less colorful.
[output channel] - [input channel] The percentage of the input channel value to add to the output channel value. For example, a Red -Green setting of 10 increases the value of the red channel for each pixel by 10% of the value of the green channel for that pixel.
Hue Balance And Angle Controls hue balance and hue angle using a color wheel. The small circle moves about the center of the wheel and controls the hue (UV) translation. This changes the balance magnitude and balance angle. The small perpendicular line sets the relative coarseness/fineness of the control, which controls the balance gain.
Output Lets you view adjustments in the Program monitor as the final results (Composite) or tonal value adjustments (Luma), display of the alpha matte (Mask) or a tritone representation of where the shadows, midtones, and highlights fall (Tonal Range).
RGB Color Corrector effect The RGB Color Corrector effect adjusts the color in a clip by applying adjustments to the tonal ranges that you define for the highlights, midtones, and shadows. The effect lets you make tonal adjustments to each color channel individually.
Show Split View Displays one part of the image as the corrected view and the other part of the image as the uncorrected view. Layout Determines whether the Split View images are side by side (Horizontal) or above and below (Vertical). Split View Percent Adjusts the size of the corrected view.
adjustment can be applied to highlights, midtones, and shadows. Highlight/Midtones/Shadows Balance Gain Adjusts brightness values by multiplication so that lighter pixels are affected more than darker pixels. The adjustment can be applied to highlights, midtones, and shadows.
To the top Video Limiter effect The Video Limiter effect lets you limit the luminance and color in a clip so that they fall within parameters that you define. These parameters are useful for preserving the video as much as possible while making its signal fall within the broadcasting limits.
Vertical and Horizontal Decentering Displace the focal point of the lens, making the image bend and smear. At extreme settings, the image wraps in on itself. Vertical and Horizontal Prism FX Create a result similar to vertical and horizontal decentering, except that at extreme values the image doesn’t wrap in on itself.
The Transform effect applies two- dimensional geometric transformations to a clip. Apply the Transform effect instead of using clip Fixed effects if you want to render clip anchor point, position, scale, or opacity settings before other Standard effects are rendered.
To the top Direction The direction the wave travels across the image. For example, a value of 225° makes the waves travel diagonally from upper right to lower left. Wave Speed The speed (in cycles per second) at which the waves travel. A negative value reverses the wave direction, and a value of 0 produces no movement.
Evolution Options Provide controls that render the effect for one short cycle and then loop it for the duration of your clip. Use these controls to pre - render the cell pattern elements into loops, and thus speed up rendering time. Cycle Evolution Creates a loop that forces the evolution state to return to its starting point.
The Eyedropper Fill effect applies a sampled color to the source clip. This effect is useful for quickly picking a solid color from a sample point on the original clip or picking a color value from one clip and using blend modes to apply this color to a second clip.
See an example of the Lightning effect in this video tutorial . Start Point, End Point Where the lightning begins and ends. Segments The number of segments that form the main lightning bolt. Higher values produce more detail but reduce the smoothness of motion.
To the top effect fills. View Threshold Shows what pixels match—that is, which pixels are within the Tolerance value of the color values of the Fill Point pixel. This option is especially useful in tracking leaks. If there is a small gap, the color can flow over and fill areas not intended to be filled.
To the top in the box to toggle the effect off. Color Balance (RGB) effect The Color Balance (RGB) effect changes the amount of red, green, and blue in a clip. Color Pass effect (Windows only) The Color Pass effect converts a clip to grayscale, with the exception of a single specified color.
Chroma Key effect A. Original image B. Blue color keyed out C. Image on second track D. Final composite image The following Chroma Key effect settings are adjusted in the Effect Controls panel: Similarity Broadens or reduces the range of the target color that will be made transparent.
Mid Point Chooses the balance point for the contrast value. Values range from 0 through 100. 0 does not affect the image. The default value is 50. Spill Suppression Desaturate Controls the saturation of the color channel background color. Desaturates colors that are close to being fully transparent.
1 . Find a frame of your foreground clip that consists only of the static background. You will use this frame as a matte. Save this frame as an image file. It will appear in the Project panel. 2 . Drag the matte frame from the Project panel to a video track in a Timeline panel.
Image Matte Key effect The Image Matte Key effect keys out areas of a clip’s image based on the luminance values of a still image clip, which serves as a matte.
White background of original (top and left) is removed using the Luma Key effect and composited over underlying layer (right). Adjust the following settings as necessary: Threshold Specifies the range of darker values that are transparent. Higher values increase the range of transparency.
Remove a black or white matte If you imported a clip that contains a solid black or white matte that’s premultiplied (merged into the RGB channels instead of stored in the alpha channel), you can remove the black or white background. 1 . In a Timeline panel, select the clip containing the matte you want to remove.
To the top Add an opacity key to the superimposed image, Insert the still image into another sequence, and superimpose the sequence containing the still image over the track containing the background clip. 3 . Add the track matte clip to a third track above the tracks with the background and superimposed clips.
To the top Original Alpha How to apply the noise to the alpha channel: Add Produces equal amounts of noise in the transparent and opaque areas of the clip. Clamp Produces noise in the opaque areas only. Scale Increases the amount of noise proportionate to the level of opacity and produces no noise in 100% transparent areas.
Basic 3D effect: Swivel (left), Swivel and Tilt (center), and Swivel, Tilt, and Distance (right) Swivel Controls horizontal rotation (rotation around a vertical axis). You can rotate past 90° to see the back side of the image, which is the mirror image of the front.
To the top Shadow Color The color of the shadow. Note: The colors of the clip may override the Shadow Color if you choose Glass Edges from the Render control menu. See the Render and Color Influence controls for more information. Opacity The opacity of the shadow.
Paint On Transparent Causes only the strokes themselves to appear, leaving the clip transparent between the strokes. Paint On White/Paint On Black Applies strokes over a white or black background. Blend With Original The effect’s transparency. The result of the effect is blended with the original image, with the effect result composited on top.
Stretch Width or Height The width or height of the fractal used to calculate the roughness. Offset (Turbulence) Determines the portion of the fractal shape used to create the distortion. Complexity Determines the level of detail in the roughness. Note: Increasing complexity results in longer rendering times.
To the top To the top Effect applied with threshold settings of 44 (left), 70 (center), and 200 (right) Time effects Echo effect The Echo effect combines frames from different times in a clip. The Echo effect has a variety of uses, from a simple visual echo to streaking and smearing effects.
To the top The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip. Latitude Moves the camera vertically. The effect makes the clip appear to be flipping vertically.
The Gradient Wipe effect causes pixels in the clip to become transparent based on the luminance values of corresponding pixels in another video track, called the gradient layer . Dark pixels in the gradient layer cause the corresponding pixels to become transparent at a lower Transition Completion value.
To the top To the top Wipe Specifies whether the transition moves clockwise or counterclockwise, or alternates between the two. Original image (left), and with effect applied (center and right) Venetian Blinds effect The Venetian Blinds effect reveals an underlying clip using strips of specified direction and width.
To the top Timecode Source Chooses the source for the timecode: Clip Displays the timecode starting at 0 from the beginning of the clip. Media Displays the timecode of the media file. Generate Starts the timecode as determined by the Starting Time In The Offset option and counts up based on the Time Display option.
Eliminate flicker Thin lines and sharp edges in images sometimes flicker when shown on interlaced displays, such as many TV screens. The Anti - flicker Filter control, located in the Effect Controls tab > Motion effect, can reduce or eliminate this flicker.
Interlacing and field order To the top To the top Interlaced video, noninterlaced video, and progressive scanning About field dominance and field reversal Create interlaced or non- interlaced clips Ch.
To the top To the top The clip is set to play backward. Create interlaced or non-interlaced clips Ordinarily, individual interlaced fields aren’t apparent to a viewer. However, playing a clip in slow - motion, creating a freeze frame, or exporting a field as a still image can make a single field distinguishable.
Modifying and customizing transitions To the top To the top Display transitions in the Effect Controls panel Adjust transition alignment Move a cut and transition together Change transition duration R.
To the top To the top 1 . In a Timeline panel, zoom in so that you can clearly see the transition. 2 . Drag the transition over the cut to reposition it. Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel 1 .
To the top To the top Lengthening a transition’s duration requires that one or both clips have enough trimmed frames to accommodate a longer transition.
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Motion: position, scale, and rotate a clip To the top Adjust position, scale, and rotation Scale assets Animate motion in the Program Monitor Adjust or animate clip anchor points Adjust position, scale, and rotation Use the Motion effect to position, scale, or rotate a clip within the video frame.
To the top To the top Scale assets When you drag an asset into a sequence, by default Premiere Pro preserves its frame size and centers the asset in the program frame. Alternatively, you can automatically scale imported assets to the project’s default frame size.
To the top Click the Transform icon next to Motion in the Effect Controls panel. Handles appear around the clip’s perimeter in the Program Monitor. Note: If you don’t see the clip handles, change the Zoom Level in the Program Monitor to a smaller percentage so that the gray work area around the video frame appears.
By default, a clip anchor point is set at the exact center of a clip. You can change the position of a clip in relation to its frame or motion path, however, by moving the clip anchor point. Further, you can change the location of the clip anchor point over time, allowing the clip to move in relation to its frame or motion path.
Transition overview: applying transitions To the top Clip handles and transitions Single - and double- sided transitions Applying transitions Apply a transition between two clips Apply a single - side.
To the top To the top A clip with handles A. Media Start B. Handle C. In point D. Out point E. Handle F. Media End In some cases, the source media may not contain enough frames for clip handles.
To the top To the top To the top either starts or ends at the cut. If neither clip contains trimmed frames, the transition automatically centers over the cut and repeats frames from the first clip, or from the second clip, or from both clips, as needed to fill the transition duration.
To the top To the top 1 . Do one of the following: Choose Edit > Preferences > General (Windows), or Premiere Pro > Preferences > General (Mac OS).
Animation and keyframes 442.
Adding, navigating, and setting keyframes To the top View keyframes and graphs Move the current - time indicator to a keyframe Add, select, and delete keyframes Modify keyframe values To animate a property is to change its value over time. In Premiere Pro, effect properties can be animated by assigning keyframes to them.
A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel. For video and audio effects, a Timeline panel can display the keyframes specific to each clip.
To the top 4 . (Optional) Use the Zoom In control to magnify the clip so that the effect menu appears at the top of the track. You can also drag the boundaries above and below the track name to increase the track height. Dragging to increase the height of a track 5 .
To the top Keyframe navigator A. Keyframe navigator in Effect Controls panel B. Current - time indicator C. Keyframe navigator in Timeline panel Add, select, and delete keyframes Add keyframes You can add keyframes in the Timeline or the Effect Controls panel at the current time.
To the top If you want to modify or copy a keyframe, first select it in a Timeline panel. Unselected keyframes appear hollow; selected keyframes appear solid. You don’t need to select segments between keyframes because you can drag segments directly.
2 . In the Effect Controls panel, click the triangle to expand the controls for the effect. 3 . Click the triangle next to a property’s name to display its Value and Velocity graphs. Note: If no keyframes have been added, the graphs appear as flat lines.
Moving and copying keyframes To the top To the top To the top Move keyframes in time Determine keyframe snapping Copy and paste keyframes Move keyframes in time Note: The first keyframe always uses the Start Keyframe icon and the last keyframe always uses the End Keyframe icon .
If the current -time indicator is positioned within a selected clip, keyframes are pasted in that clip. If audio keyframes are cut or copied, Premiere Pro pastes in the first track where it finds a corresponding effect property, looking first at a sequence’s audio tracks, then its submix tracks, and then the master track.
Controlling effect changes using keyframe interpolation To the top To the top About interpolation Change the keyframe interpolation method Control change using Bezier keyframe interpolation Fine- tune the speed of an effect About interpolation Interpolation is the process of filling in the unknown data between two known values.
To the top To the top Auto Bezier Creates a smooth rate of change through a keyframe. As you change a keyframe’s value, the Auto Bezier direction handles change to maintain a smooth transition between keyframes. Continuous Bezier Creates a smooth rate of change through a keyframe.
Such adjustments can simulate real - world motion. For example, you can change the motion of a clip so that it slows down just before a keyframe and then speeds up just after the keyframe. You can control the values approaching and leaving a keyframe together, or you can control each value separately.
Optimize keyframe automation Automating audio changes in the Audio Mixer can create more keyframes than necessary in the audio track, causing a degradation in performance. To avoid creating unnecessary keyframes, thereby ensuring both quality interpretation and minimal performance degradation, set the Automation Keyframe Optimization preference.
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Compositing, alpha channels, and adjusting clip opacity To the top Alpha channels and mattes About keying Specify clip opacity in a Timeline panel Compositing tips Adobe After Effects, another program in Adobe Creative Suite Production Premium, gives you a greatly expanded range of compositing tools.
To the top To the top To the top proportion to their degree of transparency. Some software lets you specify the background color with which the channels are premultiplied; otherwise, the background color is usually black or white. Straight channels retain more accurate color information than premultiplied channels.
Applications such as Adobe After Effects, Adobe Photoshop, and Adobe Illustrator can save clips with their original alpha channels, or add alpha channels, when the file is saved to a format that supports an alpha channel.
Blending modes To the top Blend mode reference You can select the way in which Premiere Pro blends, or superimposes, a clip on a track in a Timeline with the clip or clips on lower tracks. For more information about the Subtract and Divide blend modes, see this video by Video2Brain .
stroke with this blend mode results in a darker color. Color Burn The result color is a darkening of the source color to reflect the underlying layer color by increasing the contrast. Pure white in the original layer does not change the underlying color.
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Workflow and overview for exporting To the top To the top Types of exporting Adobe Media Encoder Workflow for exporting video and audio files FAQ: "How do I export a movie for YouTube, Vimeo, iPa.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top Note: Workflow for exporting video and audio files 1 . Do one of the following: In a Timeline panel or Program Monitor, select a sequence.
Formats exported directly from Premiere Pro In addition to the file formats exported by Adobe Media Encoder, Premiere Pro exports several file formats directly.
Export to Panasonic P2 format When you have finished editing a Panasonic P2 sequence you can export the sequence to a hard disk or back to a P2 card. You can also export individual clips to the P2 format. The maximum file size for a clip stored in the P2 format is 4 GB.
Exporting OMF files for Pro Tools To the top To the top Export an OMF file for Pro Tools Features supported in OMF files Tips for importing OMF files into Pro Tools You can export all the active audio tracks from an entire sequence in Premiere Pro to an Open Media Format (OMF) file.
To the top Stereo Balance Premiere Pro applies clip balance to the Clip Gain effect for the clip. Premiere Pro does not apply Audio Mixer balance, as that is track -based, not clip - based. Channel Gain effects for 5.1 - channel and 16 -channel tracks Premiere Pro applies the first channel - gain value per clip channel.
Export a still image For a video demonstrating the export of a frame, see the Adobe website . The Export Frame buttons in the Source Monitor and Program Monitor enable you to quickly export frames of video without using the Adobe Media Encoder. This is sometimes called a frame grab .
Exporting to DVD or Blu -ray Disc Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy To the top To the top Note: Note: Choosing fi.
Smart rendering Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy Smart rendering (Premiere Pro CS6, (6.0.1, and later)) When exporting, smart rendering can be used for certain formats to create better quality output by avoiding recompression when possible.
Working with Adobe SpeedGrade CS6 To the top To the top Note: To the top About Adobe SpeedGrade CS6 Send a sequence to Adobe SpeedGrade CS6 Video tutorial: Loading and conforming material to Adobe Spe.
Twitter™ and Facebook posts are not covered under the terms of Creative Commons. Legal Notices | Online Privacy Policy 9 . In the Reels section, click the Load from Desktop button. SpeedGrade conforms the material based on the information from the EDL.
Exporting for the Web and mobile devices To the top To the top Moving assets between Adobe Premiere Pro and Adobe Flash Tips for creating FLV and F4V files Tips for creating video for mobile devices You can export a sequence for use on Apple iPods, 3GPP cell phones, Sony PSPs, or other mobile devices.
To the top frame rate of an FLA file, use the Advanced Video Encoding settings in the FLV Import wizard. Select a frame size that fits your data rate and frame aspect ratio At a given data rate (connection speed), increasing the frame size decreases video quality.
Note: For tips on making movies smaller, see the online Help for After Effects and Adobe Premiere Pro . Match the color palette to the correct mobile devices. Mobile devices, in general, have a limited color range. Previewing in Device Central can help determine if the colors used are optimal for an individual device or range of devices.
Exporting projects for other applications To the top To the top Export a project as an EDL file Exporting AAF files Export a Final Cut Pro project XML file Export a project as an EDL file You can export a data file that describes the project and enables you to recreate it either with related media or by using another editing system.
To the top 2 . In the Save Converted Project As dialog box, browse to a location for the AAF file, and type a file name. Click Save. 3 . In the AAF Export Settings dialog box, select either Save As Legacy AAF, Embed Audio, or neither. Click OK. Premiere Pro saves the sequence to an AAF file at the specified location.
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Exporting to videotape To the top To the top Prepare for exporting to DV videotape Export a sequence to tape with device control Export a sequence to tape without device control You can record your edited sequence onto videotape directly from your computer, for example, to create a master tape.
To the top 2 . Activate the sequence you want to export, and position the work area bar over the section of the sequence you want to export. To place the work area bar over the whole section of the sequence that is visible in the Timeline panel double - click in the space just under the time ruler.
Un punto importante, dopo l’acquisto del dispositivo (o anche prima di acquisto) è quello di leggere il manuale. Dobbiamo farlo per diversi motivi semplici:
Se non hai ancora comprato il Adobe Premiere Pro CS6 è un buon momento per familiarizzare con i dati di base del prodotto. Prime consultare le pagine iniziali del manuale d’uso, che si trova al di sopra. Dovresti trovare lì i dati tecnici più importanti del Adobe Premiere Pro CS6 - in questo modo è possibile verificare se l’apparecchio soddisfa le tue esigenze. Esplorando le pagine segenti del manuali d’uso Adobe Premiere Pro CS6 imparerai tutte le caratteristiche del prodotto e le informazioni sul suo funzionamento. Le informazioni sul Adobe Premiere Pro CS6 ti aiuteranno sicuramente a prendere una decisione relativa all’acquisto.
In una situazione in cui hai già il Adobe Premiere Pro CS6, ma non hai ancora letto il manuale d’uso, dovresti farlo per le ragioni sopra descritte. Saprai quindi se hai correttamente usato le funzioni disponibili, e se hai commesso errori che possono ridurre la durata di vita del Adobe Premiere Pro CS6.
Tuttavia, uno dei ruoli più importanti per l’utente svolti dal manuale d’uso è quello di aiutare a risolvere i problemi con il Adobe Premiere Pro CS6. Quasi sempre, ci troverai Troubleshooting, cioè i guasti più frequenti e malfunzionamenti del dispositivo Adobe Premiere Pro CS6 insieme con le istruzioni su come risolverli. Anche se non si riesci a risolvere il problema, il manuale d’uso ti mostrerà il percorso di ulteriori procedimenti – il contatto con il centro servizio clienti o il servizio più vicino.
