Manuel d'utilisation / d'entretien du produit Premiere Pro CS4 du fabricant Adobe
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Copyright Using AD O B E ® P REMIERE ® PR O C S 4.
La s t updated 11/6/2011 © 2009 Adobe Systems Incorporated and its licensors. All rights reserved. Using Adobe ® Premiere ® Pro CS4 for Windows ® and Mac OS This user guide is protected under copy.
iii La s t updated 11/6/2011 Contents Chapter 1: Resources Installation, activation, and registration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv USING ADOBE PREMIERE PRO CS4 Contents La s t updated 11/6/2011 Chapter 7: Monitoring assets Source Monitor and Program Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
v USING ADOBE PREMIERE PRO CS4 Contents La s t updated 11/6/2011 Chapter 11: Effects and transitions Working with effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
vi USING ADOBE PREMIERE PRO CS4 Contents La s t updated 11/6/2011 Chapter 13: Compositing Compositing video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1 La s t updated 11/6/2011 Chapter 1: Resources Installation, activation, and registration Before installing Adobe Premiere Pro software, review complete system requirements and recommendations in the Read Me file. The Read Me file is on the installation disc, as well as on the Premiere Pro support section of the Adobe website.
2 USING ADOBE PREMIERE PRO CS4 Resources La s t updated 11/6/2011 Adobe Product Improvement Program After you have used your Adobe software a certain number of times, a dialog box appears, asking whether you want to participate in the Adobe Product Improvement Program.
3 USING ADOBE PREMIERE PRO CS4 Resources La s t updated 11/6/2011 For a video overview of Community Help, see www.adobe.com/go/lrvid4117_xp . For frequently asked questions about Community Help, see http://community.
4 USING ADOBE PREMIERE PRO CS4 Resources La s t updated 11/6/2011 New features Premiere Pro CS4, in combination with AdobeOnLocation CS4, and Adobe Encore CS4, makes every step of video production more efficient. They provide tools for every step, from on-location capture, through post-production, to final delivery.
5 USING ADOBE PREMIERE PRO CS4 Resources La s t updated 11/6/2011 Thousands of visual and audio effects via Adobe Resource Central Create or customize existing video and audio using numerous effects available via Adobe Resource Central. Get live access to fresh, new content and news.
6 La s t updated 11/6/2011 Chapter 2: User interface The similarity in the user interface design among all Adobe video and audio products allows users to move projects through the applications best suited for each task in the workflow.
7 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Dock, group, or float panels You can dock panels together, move them into or out of groups, and undock them so they float above the application window. As you drag a panel, drop zones —areas onto which you can move the panel—become highlighted.
8 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 2 Do one of the following: • To move an individual panel, drag the gripper area in the upper-left corner of a panel’s tab onto the desired drop zone.
9 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Resize panel groups When you position the pointer over dividers between panel groups, resize icons appear. When you drag these icons, all groups that share the divider are resized.
10 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Drag horizontal scroll bar to see all panels in narrow group Navigate the panels You can use keyboard shortcuts to activate panels in rotation.
11 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Reset a workspace Reset the current workspace to return to its original, saved layout of panels. ❖ Choose Window > Workspace > Reset workspace name . Delete a workspace 1 Choose Window > Workspace > Delete Workspace.
12 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Toolbox A. Selection tool B. Ripple Edit tool C. Rate Stretch tool D. Slip tool E.
13 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Hand Tool Select this tool to move the viewing area of a Timeline to the right or left. Click and drag left or right anywhere in the viewing area. Zoom Tool Select this tool to zoom in or out in a Timeline viewing area.
14 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 The Info panel A. Name of selected clip B. Data for selected clip C. Tape name D. Sequence timecode locations of clip Start and End points E. Name of active sequence F. Source timecode location in selected clip of current-time indicator G.
15 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 “ Scroll a sequence during preview ” on page 186 “ Set the default keyframe display of video tracks ” on page 132 “ Se.
16 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 More Help topics “ Map sequence audio channels to audio device hardware channels ” on page 204 Change the Auto Save settings By default, Premiere Pro automatically saves your project every 20 minutes and retains the last five versions of the project file on the hard disk.
17 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Label Defaults preferences In the Label Defaults pane of the Preferences dialog box, you can change the default colors assigned to bins, sequences, and different types of media.
18 USING ADOBE PREMIERE PRO CS4 User interface La s t updated 11/6/2011 Trim preferences In the Trim pane of the Preferences dialog box you can specify the number of frames the trim point moves when you click the negative or positive Large Trim Offset buttons in the Trim Monitor.
19 La s t updated 11/6/2011 Chapter 3: Workflows and system setup 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.
20 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Quickstart screen 3. Capture and import video and audio Using the Capture panel, capture footage directly from a camcorder or VTR. With the proper hardware, you can digitize and capture other formats, from VHS to HD.
21 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 You can also import a variety of digital media, including video, audio, and still images. Premiere Pro also imports Adobe® Illustrator® artwork or Photoshop® layered files, and it translates After Effects® projects for a seamless, integrated workflow.
22 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Refine the sequence by manipulating clips in a Timeline panel, with either context-sensitive tools or tools in the Tools panel. Use the specialized Trim Monitor to fine-tune the cut point between clips.
23 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Effects panel in filtered view, Effect Controls panel, and Program Monitor 7. Mix audio For track-based audio adjustments, the Audio Mixer faithfully emulates a full-featured audio mixing board, complete with fade and pan sliders, sends, and effects.
24 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Export Settings set for Clip Notes export 9. Export Deliver your edited sequence in the medium of your choice: tape, DVD, Blu-ray Disc, or movie file.
25 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 More Help topics www.adobe.com/go/vid0230 “ Importing clips from OnLocation ” on page 95 File-based workflows You can take advantage of the efficiency of tapeless cameras and shooting with OnLocation.
26 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Send to Encore or to an MPEG-2 file. The File > Adobe Dynamic Link> Send To Encore command brings your sequence, or any portion of it you designate with the work area bar, into Encore.
27 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 More Help topics “ Create a DVD, Blu-ray disc, or SWF file in Encore ” on page 456 “ Sharing markers with Afte.
28 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 • Launch Adobe Bridge from within Premiere Pro, use Adobe Bridge to organize, tag and find assets, and then use it to place them in various applications, including Premiere Pro, for modification.
29 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 To export a movie with the information to use the Edit Original command, in the Export Movie Settings dialog box, choose Project from the Embedding Options menu. (See “ Export a movie file for further editing ” on page 447.
30 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Exchanging movies You can also exchange video files, such as QuickTime movies, between Photoshop and Premiere Pro. When you open a movie in Photoshop, a video layer is created that refers to the source footage file.
31 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Note: You can’t, however, paste footage items from the After Effects Project panel into the Adobe Premiere Pro Timeline panel.
32 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Copy from Adobe Premiere Pro to After Effects You can copy a video or audio asset from an Adobe Premiere Pro sequence and paste it into an After Effects composition. After Effects converts assets to layers and copies the source footage items into its Project panel.
33 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Working with Adobe Premiere Pro and Adobe Flash Adobe Premiere Pro is a professional tool for editing video.
34 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 More Help topics “ Export still-image sequences ” on page 453 Trace video with Adobe Bridge and Illustrator Live Trace Working with Final Cut Pro and Premiere Pro You can import XML project files from Final Cut Pro into Premiere Pro.
35 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Note: Dynamic Link is a one-way delivery mechanism from one application to another. You can't pass information back and forth between two applications at the same time.
36 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Saving and Dynamic Link (Production Premium or Master Collection only) You must save your After Effects project at least once before you can create a dynamic link from Adobe Premiere Pro or Encore to a composition within it.
37 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Link to a new composition When you link to a new composition from Adobe Premiere Pro or Encore, After Effects starts.
38 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 You can delete linked clips, which are simply references to the linked composition in the Project panel, from the timeline of an Adobe Premiere Pro sequence or from an Encore menu or timeline at any time.
39 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Offline compositions appear with an Offline icon in the Adobe Premiere Pro Project panel. In Encore, the thumbnail preview displays the Offline icon when an offline asset is selected in the Project panel.
40 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 Setting up your system For Premiere Pro system requirements, see the Adobe website . For lists of various categories of hardware compatible with Adobe Premiere Pro, see the Adobe website .
41 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 6 Do one of the following: • (For DV camcorders or VTRs only) In the Available Presets area of the New Sequence dialog box, select the DV preset that matches the format of your source footage.
42 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 2 Connect the SD-SDI, HD-SDI, or component device to the computer or breakout box using XLR audio cables. Run audio cables from the audio outputs of the computer or breakout box to the audio inputs of the device.
43 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 With this setup, you can import or transfer audio and video files from card readers, drives, or tapeless camcorders recorded in digital video file formats, such as Panasonic P2, XDCAM HD, XDCAM EX, or AVCHD.
44 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 4 Connect the analog camcorder or VTR, or the breakout box, A/D converter, digital camcorder or VTR, to the television monitor with an S-Video or RCA video cable, and RCA audio cables.
45 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 5 Check Device 32-bit Recording if you want to record 32-bit audio.
46 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 In terms of performance, it’s usually best to dedicate a different disk to each asset type, but you can also specify folders on the same disk.
47 USING ADOBE PREMIERE PRO CS4 Workflows and system setup La s t updated 11/6/2011 • Although you can divide a single disk into partitions and set up partitions as scratch disks, this doesn’t improve performance because the single drive mechanism becomes a bottleneck.
48 La s t updated 11/6/2011 Chapter 4: Project setup A project file stores information about sequences and assets, such as settings for capture, transitions, and audio mixing. Also, the project file contains the data from all of your editing decisions, such as the In and Out points for trimmed clips and the parameters for each effect.
49 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 3 Browse to a location where you want to save the project file, name the project, and click OK. Note: Whenever possible, specify a location and name that you won’t have to change later.
50 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 Open a project Premiere Pro for Windows can open project files created with earlier versions of Premiere Pro or Adobe Premiere 6.x. You can open only one project at a time. To transfer the contents of one project into another, use the Import command.
51 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 Moving a project to another computer To move a project to another computer where you want to continue editing, you must move copies of all the assets for the project to the second computer, as well as the project file.
52 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 When you import clips shot in one frame aspect ratio into a project that uses another frame aspect ratio, you decide how to reconcile the different values. For example, two common techniques are used for showing a 16:9 movie on a 4:3 standard television.
53 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 You could occasionally encounter a distorted clip if Premiere Pro interprets pixel aspect ratio incorrectly. You can correct the distortion of an individual clip by manually specifying the source clip pixel aspect ratio in the Interpret Footage dialog box.
54 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 About square-pixel footage Many graphics and animation programs generate square-pixel assets meant for display on square-pixel computer monitors. Premiere Pro, however, typically generates files with non-square pixels for display on television sets.
55 USING ADOBE PREMIERE PRO CS4 Project setup La s t updated 11/6/2011 When you drag an asset into a sequence, Premiere Pro centers the asset in the program frame by default. Depending on its frame size, the resulting image could be too small or overcropped for the needs of the project.
56 La s t updated 11/6/2011 Chapter 5: Capturing, digitizing, transferring, and importing With your hardware hooked up, you can bring assets into a project by capturing them from digital sources, digitizing them from analog sources, or importing them from locations on your hard disk.
57 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • For recording audio from analog sources, a supported audio card with an analog audio input. • A codec for the type of footage you want to capture.
58 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 More Help topics “ Optimizing scratch disk performance ” on page 46 Specify capture settings (Windows) 1 With a project open, choose File > Capture, and select the Settings tab.
59 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 3 Select whether to use device control timecode.
60 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 2 Select one or more of the Capture options. If you are using a device controller that generates its own timecode, select Use Device Control Timecode.
61 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 5 Click OK. 6 In the Device Control section of the Settings pane, specify the following options as needed: Preroll Time Indicates how much before the In point Premiere Pro starts playing the tape before capture.
62 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Capture without device control If you do not have a device that can be controlled by Premiere Pro, you can capture video manually. You have to operate both the playback device controls and the Capture panel controls in Premiere Pro.
63 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Including a unique number in the name can help you avoid using the same name twice. 5 In the Setup area of the Logging pane, choose the media type from the Capture menu.
64 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Use automatic scene detection Instead of manually logging In and Out points, you can use the Scene Detect feature.
65 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 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.
66 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Important: You can import DVCPRO HD assets, XDCAM HD, and XDCAM EX assets, and AVCHD assets from their media without capturing. Capturing takes longer than transferring, and does not preserve all metadata.
67 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Digitizing analog video In order to edit video shot in an analog format, you must first digitize it.
68 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 9 When the Welcome screen appears, do one of the following: • To start a new project using a capture card, click New Project, select the capture card’s preset (if available) from the Load Preset pane, and click OK.
69 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Batch capturing and recapturing About batch capturing Premiere Pro supports batch capturing—automatic, unattended capture of multiple clips from a controllable device.
70 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 If you have a list of In and Out points, you can log them manually without a device online; simply enter each shot’s In and Out points and click the Log Clip button.
71 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 3 Play the tape. Click Set In or Set Out at any time, even as the tape plays. Repeat as necessary. 4 When you are satisfied with the In and Out points, click Log Clip, verify the clip data, and click OK.
72 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Change capture settings for an offline clip You can change capture settings for an offline clip. For example, you can capture the clip at a resolution higher than it had when it first was captured or logged.
73 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • Recording video, audio, or both must be supported by the selected capture device. For example, audio isn’t captured if the capture device doesn’t capture audio.
74 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • You want to recapture clips used in the project. Recapturing clips requires making the online clips offline by using the Unlink Media command.
75 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Note: To link the audio of a new source file, the source file must have the same type of audio track as the offline clip.
76 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Recapture clips You can recapture clips in an existing project using batch capturing.
77 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 For more information about timecode, see the video tutorial, lynda.
78 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • Feet+Frames 35 mm • Audio Samples • Milliseconds The timecode display format for the Program Monitor (including the instance in the Trim Monitor) and Timeline panels always match one another.
79 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Note: Scene Detect recognizes the starting and stopping points for each shot by looking for jumps in the timestamps.
80 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 View clip timecode as a burn-in 1 In the Effects panel, click the triangle next to the Video Effects bin to open it. Then, click the triangle next to the Video bin to open it.
81 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 The folder structure for AVCHD assets The folder structure for DVCPRO HD assets The folder s.
82 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Importing is different from capturing . The Import command brings files that are already on your hard disk or other connected storage device into your project.
83 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Premiere Pro can import files in the formats listed, provided the codec used to generate a specific file is installed locally. For example, to play and edit an AVI file encoded with the DivX encoder, the DivX codec must be installed.
84 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • MPEG, MPG (MPEG Movie) • MOV (QuickTime; in Windows, requires QuickTime player) • MX.
85 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 More Help topics “ Import files with the Media Browser ” on page 85 “ Import files wit.
86 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • In the list of hard drives and folders in the Media Browser, click the triangles next to folder names to open them. 3 To view only files of certain types, click the triangle in the Files Of Type menu, and select a file type.
87 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 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.
88 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 2 Check Default Scale To Frame Size. 3 Click OK. Importing assets from tapeless formats File-based camcorders from various manufacturers record video and audio into files of specific formats organized within specific directory structures.
89 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Avid capture format Avid editing systems capture footage to MXF files, generally into a folder called Avid Media files, with audio captured into discreet files separate from the video files.
90 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 More Help topics “ Start an HDV or HD sequence ” on page 139 “ Map audio channels ” .
91 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Preparing still images before importing Before you import a still image into Premiere Pro, prepare it as completely as possible to reduce rendering time.
92 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 More Help topics “ Working with Photoshop and Premiere Pro ” on page 29 “ Create and e.
93 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Importing Illustrator images You can import an Adobe Illustrator still-image file directly into a Premiere Pro project.
94 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Using compressed audio formats Music stored in formats such as MP3 and WMA are compressed using a method that removes some of the original audio quality.
95 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 • Premiere Pro does conform audio in uncompressed formats that were not recorded in a natively supported sample rate.
96 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Importing a project into another project is the only way to transfer its complete sequence and clip information.
97 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 “ About Dynamic Link (Production Premium or Master Collection only) ” on page 34 “ Cre.
98 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Final Cut Pro clip data Clip data in the Description, Scene, ShotTake, and LogNote fields in Final Cut Pro appear in the clip metadata fields with the same names in Premiere Pro.
99 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Conversion of Final Cut Pro video effects Conversion of Final Cut Pro video transitions Conv.
100 USING ADOBE PREMIERE PRO CS4 Capturing, digitizing, transferring, and importing La s t updated 11/6/2011 Conversion of Final Cut Pro audio transitions Final Cut Pro composite modes Premiere Pro retains the basic motion and opacity effects, and motion and opacity keyframes, from Final Cut Pro source projects.
101 La s t updated 11/6/2011 Chapter 6: Managing assets After you import assets into a project, you can use Premiere Pro to organize them, view their details, and find them quickly.
102 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 • To sort items in List view, click the column heading by which you want to sort the items. If bins are expanded, items sort from the top level and down the Project panel hierarchy.
103 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Text columns can contain any text you enter. Boolean columns provide the option for Boolean terms. 5 Click OK, and click OK again. List view columns The names of most of the Project panel columns are self explanatory.
104 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 2 Press the Play button or drag the play slider on the thumbnail viewer in the upper left corner of the Project panel until the frame you want is displayed. 3 Click the Set Poster Frame button .
105 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Work with bins These are the default behaviors of bins in the Project panel. You can change the last three bin default behaviors by editing bin preferences.
106 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 2 In the Bins area, select options from the menus for Double-Click, + Ctrl (Windows) or + Command (Mac OS), and + Alt (Windows) or + Opt (Mac OS). 3 Click OK. Label assets Labels are colors that help you identify and associate assets.
107 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Jump to an asset in the Project panel 1 Select the Project panel. 2 Type the first letter of the name of the desired clip. Find assets in the Project panel 1 In the Project panel, select one of these options from the In menu: All Searches all metadata.
108 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Remove an item from the Project panel ❖ Select the item and press the Delete key. The file remains on the hard disk Note: When you use the Project > Make Offline command, you have the option of deleting the actual source file along with its reference in the project.
109 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 You can also use the Properties feature to alert you to the presence of any dropped frames in a clip you just captured. Use the data rate graph to evaluate how well the output data rate matches the requirements of your delivery medium.
110 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Managing metadata About the Metadata panel and XMP To streamline your workflow and organize your files, use metadata . Metadata is a set of descriptive information about a file.
111 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 If you never use subclips and never import multiple instances of master clips, then each clip in your project is unique. You can use XMP File properties exclusively, so all your metadata is recorded into the source file, visible to other applications.
112 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Using clip metadata and file metadata XMP file metadata is information about a source file stored in the source file. Clip metadata is information about a clip, stored in a Premiere Pro project file.
113 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 Metadata panel A. Before search, all properties appear B. After search, only properties with search string appear. In Adobe Premiere Pro, Previous and Next buttons navigate through search results.
114 USING ADOBE PREMIERE PRO CS4 Managing assets La s t updated 11/6/2011 3 In the list, click Add Property to the right of the schema name. 4 Enter a property name, and select one of the following for Type: Integer Displays whole numbers that you drag across or double-click to replace.
115 La s t updated 11/6/2011 Chapter 7: Monitoring assets Using the monitors in Premiere Pro, you can not only view the composite video of your clips and sequences, but you can also analyze them with waveform monitors and a vectorscope.
116 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 For sequences based on editing modes other than RED Cinema, select one of the following: Highest Quality Displays video in the monitor at full resolution.
117 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 Choosing a clip to view from the Source menu 2 To clear a clip from the Source Monitor, in the Source menu, choose Close to clear or Close All to clear all clips.
118 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 and Out points. You can adjust the current time, markers, and the In and Out points by dragging their icons in a time ruler. Current-time indicator (CTI) Shows the location of the current frame in each monitor’s time ruler.
119 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 Choose a display mode You can display normal video, the video’s alpha channel, or one of several measurement tools.
120 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 Most playback controls have keyboard equivalents. When you want to use keyboard shortcuts to control playback, make sure that the monitor you want is active. Click the video image in the monitor you want to activate.
121 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 • Drag the jog disk left or right, past the edge of the controller if necessary. If you drag to the edge of the screen without reaching the end of the clip or sequence, you can continue from the same time position by dragging from the jog disk again.
122 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 Match a frame with its source While editing in a Timeline panel, you can find the source frame for any frame in a sequence clip and display it in the Source Monitor.
123 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 3 Choose any of the following from either the Reference Monitor, Program Monitor, or Source Monitor menu: All Scopes Displays the Vectorscope, YC Waveform, YCbCr Parade, and RGB Parade scopes in one monitor.
124 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 The YC Waveform displays luminance information as a green waveform. Bright objects produce a waveform pattern (bright green areas) near the top of the graph; darker objects produce a waveform toward the bottom.
125 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 YCbCr Parade scope A. Values B. Y (luminance) waveform C. Cb waveform D. Cr waveform E. Range of signal components RGB Parade The RGB Parade scope displays waveforms representing the levels of the red, green, and blue channels in a clip.
126 USING ADOBE PREMIERE PRO CS4 Monitoring assets La s t updated 11/6/2011 Using a Reference Monitor to aid in setting video levels You can specify the Reference Monitor’s quality setting, magnification, and viewing mode just as you would in the Program Monitor.
127 La s t updated 11/6/2011 Chapter 8: Editing sequences and clips In Premiere Pro, you specify the settings for each sequence, trim your clips, and assemble clips in sequences. Every Premiere Pro project can contain one or more sequences, and each sequence in a project can have settings different from the settings for the others.
128 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 About sequences You assemble and rearrange sequences in one or more Timeline panels, where their clips, transitions, and effects are represented graphically.
129 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Viewing area bar Corresponds to the visible part of the sequence in a Timeline panel. You can change the size and position of the viewing area bar to quickly view different parts of the sequence.
130 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 • To zoom in, drag the zoom slider to the right, or click the Zoom In button . To zoom out, drag the zoom slider to the left, or click the Zoom Out button . • To zoom in, drag the ends of the viewing area bar closer together.
131 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Rename a track 1 Right-click (Windows) or Ctrl-click (Mac OS) the track's name and choose Rename. 2 Type a new name for the track, and press Enter (Windows) or Return (Mac OS).
132 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Note: To exclude all video or all audio tracks, Shift-click to hide the Eye icon (for video) or the Speaker icon (for audio). This excludes all tracks of the same type.
133 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 3 Click OK. Set the display style of the audio track 1 Expand the track by clicking the triangle next to the track name. 2 Click the Set Display Style button , and choose an option from the menu: Show Waveform Displays audio waveforms in clips.
134 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Some assets might have been generated with codecs not supported natively by Premiere Pro. Often, you can edit these assets after installing the relevant codec pack from a website like codecs.
135 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 When creating a new sequence, you can either select from among the standard sequence presets or customize a group of settings and save the customized group as a custom sequence settings preset.
136 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 DV video and audio use standardized settings that are specified automatically when you select either DV editing mode. When you use a DV editing mode, avoid changing the Timebase, Frame Size, Pixel Aspect Ratio, Fields, and Sample Rate settings.
137 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 • 24 fps Timecode Reports time in hours, minutes, seconds, and frames; separating units with colons. Use for 24p footage and to output to 24-fps formats for film and DVD distribution.
138 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 (Windows only) The Uncompressed UYVY 422 8bit codec and the V210 10-bit YUV codec match the specifications for SD-SDI and HD-SDI video respectively. Select one of them if you intend to monitor or output to one of these formats.
139 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Change sequence settings You can change some of the settings for an existing sequence. Note that, depending on the Editing Mode selected, some of the settings will be fixed.
140 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 To edit DVCPROHD 720p footage shot at 25fps (e.g. 25pN native mode footage from PAL versions of the Panasonic HVX200 camera), choose the DVCPROHD 720p 50p preset. Then, select the General tab.
141 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 6 In the Audio section choose the desired settings for Sample Rate and Display Format.
142 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 If you edit 24p footage in a sequence based on one of the DV-24p presets, Premiere Pro, by default, manages the 24p pulldown scheme, so that the video can be exported for playback on 24p NTSC devices.
143 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 More Help topics “ Disable 24p pulldown to simulate film-video transfer ” on page 143 Create a 24p sequence 1 Select File > New > Sequence.
144 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 For example, a clip that you log for capture may have an In point of 00:01:00:28. However, as an offline clip in a 24p project, the In point is shown as 00:01:00:23.
145 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Eddie Lotter provides a collection of tutorials and articles about multi-camera editing on the Premiere Pro Wiki website . Jon Barrie provides a video tutorial about multi-camera editing and synchronization on the Creative COW website .
146 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Display the Multi-Camera Monitor ❖ Select the multi-camera target sequence in a Timeline panel, and then choose Multi-Camera Monitor from the Window menu.
147 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Create a multi-camera target sequence 1 Choose File > New > Sequence. 2 Drag the sequence containing the multi-camera clips into a video track of the new sequence.
148 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 More Help topics “ About multi-camera editing ” on page 144 “ Record audio ” on page 214 Play nested multi-camera clips in the Program Monitor 1 Right-click (Windows) or Ctrl-click (Mac OS) the nested multi-camera sequence in a Timeline.
149 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Like the Multi-Camera Monitor, the Source Monitor displays footage previews of the original camera shots. 2 Click the display for the footage you want to add to the sequence.
150 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 • Actions involving a nested sequence may require additional processing time, because nested sequences can contain references to many clips, and Premiere Pro applies the actions to all of its component clips.
151 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Creating clips In Premiere Pro, you create clips by importing files, duplicating clips, or making subclips. You create a clip instance by using a clip in a sequence.
152 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Subclips reference the master clip’s media file. If you delete a master clip or take it offline and keep its media on disk, the subclip and its instance remain online.
153 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 2 Choose Clip > Edit Subclip. 3 Edit the Subclip Start and End timecode fields. Note: If you select an instance of a subclip in the Project panel, you cannot set new Start and End points that lie within the instance Start and End points.
154 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Creating special clips (synthetics) Create a counting leader (Windows only) If you plan to create film output from a sequence, you may want to add a counting leader.
155 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 2 If necessary, in the New Black Video dialog box, set Width, Height, Timebase, and Pixel Aspect Ratio to match these settings for the sequence in which you will use the black video clip.
156 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Adding clips to sequences Adding clips to a sequence You can add clips to a sequence in the following ways: • Drag the clip from the Project panel or Source Monitor to a Timeline panel or the Program Monitor.
157 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Open a sequence ❖ In a Project panel, double-click a sequence. The sequence will open in a Timeline panel. Targeting tracks A sequence may contain several video and audio tracks.
158 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 • You can map the tracks of a clip in the Source Monitor to one or more tracks of a sequence by dragging the source track indicator representing each of the source clip’s tracks into one or more selected tracks of the sequence.
159 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 If you don’t want to set In and Out points, you can drag the clip directly from a bin or the preview thumbnail in the Project panel. 2 To make clip edges align when you drag them, make sure that the Snap button is active in a Timeline panel.
160 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 2 In the Source Monitor, do one of the following: • To drag all audio and video tracks of the clip, drag from anywhere inside the main viewing area. • To drag only the video track of the clip, drag from the Drag Video Only icon .
161 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Overlay a clip into a sequence 1 Double-click a clip in a Project panel or sequence to open it in the Source Monitor. 2 Place the current-time indicator at the point in the sequence where you want to overlay the clip.
162 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Make a four-point edit 1 In a Project panel, double-click a clip to open it in the Source Monitor. 2 Click the headers of the tracks in a Timeline panel into which you want to add the clip to target them.
163 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 from left to right, top to bottom in Icon view. If you choose Selection Order, clips are added according to the order in which you selected them in the Project panel.
164 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Using one of the following keyboard modifiers, drag a clip from the Project panel or Source Monitor onto a clip in a Timeline panel: • To use the In point of the new clip, Alt-drag (Windows) or Option-drag (Mac OS).
165 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 2 Choose Marker > Set Sequence Marker > In And Out Around Selection.
166 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Trim in the Source Monitor The Source Monitor panel holds versatile tools for trimming clips. You can use them to set, move, or remove In and Out points, cue the current-time indicator to any of these points, or preview the frames at their locations.
167 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 This also works with sequence In and Out points using the Program Monitor or a Timeline panel.
168 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 3 To zoom in vertically, do one of the following: • To zoom in on a single channel, drag either end of the vertical zoom bar that runs next to the decibel ruler on the right side of the Source Monitor.
169 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Trim with the current-time indicator (extend edit) You can set the In Point or Out Point of a clip in a sequence to the location of the current-time indicator, sometimes called an extend edit, if you first map two keyboard commands.
170 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Rolling edit A rolling edit trims an adjacent Out point and In point simultaneously and by the same number of frames.
171 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Perform a rolling edit using the Trim Monitor 1 In the Trim Monitor, click the Select Video Or Audio Track button and select the track you want to edit. 2 Click in the Sync Lock box in the header of any track you want to shift when the rolling edit is made.
172 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 4 Do any of the following: • Position the pointer in the left or right image so that it becomes the Trim-out icon or Trim-in icon respectively, and drag left or right to ripple-edit the corresponding clip.
173 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 In this slip edit, a clip is dragged left, moving its source In and Out points later in time.
174 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 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 clip to the left of the edit point, and the right monitor shows the clip to the right of it.
175 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 .You can see whether any clip in the Project panel has been used in a project, the number of uses, and the location of each use, with the Clip Usage menu.
176 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 If you import files with a speech transcript into After Effects, each word appears as a layer marker in compositions. Navigate to a specific word in a transcript 1 In the Speech Transcript section, select the word.
177 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Edit a text transcript Selecting Merge With Previous Word from the Speech Transcript context menu. 1 In the Speech Transcript section of the Metadata panel, right-click (Windows) or Ctrl-click (Mac OS) a word that has been transcribed incorrectly.
178 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Selecting clips with the Track Select tool • To select clips in a track independently of its linked video or audio, Alt-click (Windows) or Option-click (Mac OS) using the Track Select tool .
179 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Snap a clip to a clip edge, marker, or current-time indicator 1 Make sure that the Snap button is selected in a Timeline panel. 2 Drag the edge of a clip close to the edge of another clip or a marker or the current-time indicator.
180 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 • To move the audio portion of a clip to Audio 1 and move the video portion to a different video track, drag the audio portion upward past the bar separating video and audio tracks.
181 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Split or cut one or more clips with the Razor tool You can use the Razor tool to cut a clip into two clips, or to cut across clips in several tracks at once. Splitting a clip creates a new and separate instance of the original clip, and any linked clips.
182 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 2 In the Timeline, click the headers of the tracks from which you want to extract frames to target them. 3 Click the Sync Lock boxes in the headers of all tracks you want to shift when the gap is closed.
183 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 More Help topics “ Copy and paste clip effects ” on page 267 Delete all clips on one track 1 Select the Track Select tool . 2 Do one of the following: • To delete both the audio and video of linked clips, click the first clip in the track.
184 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Define the work area for rendering ❖ Do any of the following: • Drag the work area bar over the section you want to preview. Make sure that you drag the work area bar from its textured center; otherwise you cue the current-time indicator instead.
185 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Render Entire Work Area Renders the sections of the video tracks lying within the work area containing either a red render bar or a yellow render bar. Render Audio Renders a preview file for the sections of the audio tracks lying within the work area.
186 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Delete preview files 1 With a Timeline panel active, do one of the following: • To delete the render files only for a range of clips, adjust the Work Area bar so that it spans only the desired range.
187 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Previewing on a television monitor via video card Some video cards and operating system software products support a television monitor independent of the computer desktop.
188 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Correcting mistakes Correct mistakes In case you change your mind or make a mistake, Premiere Pro provides several ways to undo your work.
189 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Work with the History panel ❖ Do any of the following: • To select a state, click the name of the state in the History panel.
190 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Marker icons in a Timeline panel A. Sequence marker B. Clip marker C. Encore chapter marker When setting markers (as with In and Out points), make sure that you’re working with the version of the clip you want.
191 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 3 Choose Marker > Set Clip Marker or Marker > Set Sequence Marker, and choose an option in the submenu: Next Available Numbered Sets a numbered marker using the lowest unused number.
192 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Note: You can’t remove a sequence marker by dragging it away from the time ruler.
193 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 Sharing markers with After Effects, Encore, and Flash You can share markers between Premiere Pro, Adobe Encore, and Adobe Flash in any of the following ways.
194 USING ADOBE PREMIERE PRO CS4 Editing sequences and clips La s t updated 11/6/2011 To quickly place a marker, you can right-click (Windows) or Control-click (Mac OS) in the time ruler and choose the type of marker you want to set at the current-time indicator.
195 La s t updated 11/6/2011 Chapter 9: Editing Audio Working with audio About audio In Premiere Pro, you can edit audio, add effects to it, and mix as many tracks of audio in a sequence as your computer system can handle. Tracks can contain mono, stereo, or 5.
196 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 track’s format, the number of audio tracks in a sequence, and the number of channels in the audio tracks is specified in the Tracks panel of the New Sequence dialog box. A sequence can contain two types of audio tracks.
197 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Mixing audio tracks and clips Mixing is blending and adjusting the audio tracks in a sequence. Sequence audio tracks can contain many audio clips, and the audio tracks of video clips.
198 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Audio Mixer overview Audio Mixer A. Effect and Send area B. Controls area C. Playback controls In the Audio Mixer, you can adjust settings while listening to audio tracks and viewing video tracks.
199 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Audio mixer playback controls A. Go To In Point B. Go To Out Point C. Play/Stop Toggle D. Play In To Out E. Loop F. Record The Audio Master Meters panel duplicates the audio display of the Audio Mixer Master Meters.
200 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: You can also silence a track using the Mute Track button. Open the Audio Master Meters panel ❖ Choose Window > Audio Master Meters. Customize a VST effect in an options window 1 Apply a VST plug-in effect to a track in the Audio Mixer.
201 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 View time in audio time units ❖ In the Audio Mixer, Program Monitor, Source Monitor, or Timeline panel, choose Show Audio Time Units from the panel menu. To see more volume detail when viewing an audio waveform in a Timeline panel, increase the track height.
202 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 By default, clip audio channels are mapped to the master track when they are captured or brought into a project. You can specify how Premiere Pro maps them by selecting a Default Track Format in Audio Preferences.
203 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 The following icons indicate channel mapping for stereo mixes: Left stereo channel Right stereo channel The following icons indicate channel mapping for 5.
204 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: If you leave P2 clips at their default mono channel mapping, use them in a sequence with a 5.1 master track, and export that sequence to P2, the exported file contains audio only in the third and fourth channels.
205 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Extract audio from clips You can extract audio from clips and generate new audio master clips in a project.
206 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Break all stereo tracks into mono tracks Premiere Pro can automatically break out individual stereo and surround channels to discrete monaural clips as each clip is captured or imported.
207 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Indicators appear when linked clips are no longer synchronized. You can display and trim a multi-clip link in the Source Monitor. To view a track in the multi-clip link, choose from the Track menu.
208 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 • Shift-click to select more than one audio clip on separate tracks in a Timeline panel. All audio clips must have the same track format (mono, stereo, or 5.1 surround). 3 Choose Clip > Link.
209 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 More Help topics “ Trim with Trim-in and Trim-out tools ” on page 168 Switch a time ruler to audio units in the Source or Program Monitor ❖ In the Source or Program Monitor panel menu, choose Show Audio Time Units.
210 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: You can link video only to audio—you cannot link a video clip to another video clip.
211 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 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. 2 Select one of the clips involved in the split edit, and choose Clip > Unlink.
212 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 The quality of digitized audio and the size of the audio file depend on the sample rate (the number of samples per second) and bit depth (the number of bits per sample) of the digitized audio.
213 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Audio Mixer recording controls A. Record Enable button for track B. Record button for Audio Mixer 5 In the Audio Mixer, click the Record button for the sequence. Premiere Pro prepares the sequence for recording but moves the playhead only when you press the Play button.
214 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Record an analog source You can record audio from an analog source device, such as a cassette deck or turntable. 1 Connect the analog source to the appropriate input jack on the computer or sound card.
215 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: The Track Input Channel menu appears after you click the Enable Track For Recording icon. 5 Repeat steps 3 and 4 as necessary if you’re recording to multiple tracks. 6 (Optional) Create a new sequence.
216 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Specify whether to play audio while scrubbing By default Premiere Pro plays the audio when you scrub any clip or sequence containing audio in the Source Monitor, Program Monitor, or a Timeline.
217 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 3 Select one of the following, set its value, and then click OK: Set Gain To The default value is 0.
218 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 “ Volume effect ” on page 339 “ Channel Volume effect ” on page 331 Adjust track volume with keyframes You can adjust the volume level of a whole clip or track, or have the volume change over time using the rubber band in an audio track of a Timeline panel.
219 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 3 Do any of the following: • Enter a value for the level. A negative value decreases the volume level and a positive value increases the volume level. A value of 0.0 represents the original clip’s volume level without adjustment.
220 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 4 In a Timeline panel, for each audio track, click the Show Keyframes button . Then choose Show Track Keyframes, or Show Track Volume from the drop-down menu. 5 Toward the bottom left of the Audio Mixer panel, click the Play button to play the sequence and monitor its audio.
221 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Crossfade between audio clips 1 If necessary, click the triangle to the left of each track name in a Timeline panel to expand the audio tracks that you want to crossfade. 2 Make sure that the two audio clips are adjacent, and that both clips are trimmed.
222 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Applying effects to audio Applying audio effects to clips In the Effects panel, you can find audio effects inside the Audio Effects bin. Depending on the number of channels in the audio track, you apply effects from either the 5.
223 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 More Help topics “ Working with VST effects ” on page 224 “ About recording audio changes ” on page 225 “ Route tracks.
224 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Designate a track effect as pre-fader or post-fader ❖ In the Effects And Sends panel of the Audio Mixer, right-click (Windows) or Control-click (Mac OS) an effect and choose Pre-Fader or Post-Fader.
225 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: The option controls for VST plug-in effects are also available at the bottom of the Effects And Sends panel.
226 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: In the Audio Mixer, you can set the current time at the top left corner of the panel. 2 In the Audio Mixer, choose an automation mode from the Automation Mode menu at the top of each track you want to change.
227 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 set to Read automation, the option returns to its former value (before the current automated changes were recorded) when you stop adjusting it. The rate of return is determined by the Automatch Time preference.
228 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Panning is the moving of audio from one channel to another. You can use panning to position an audio channel within a multichannel track.
229 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Panning and balancing controls A. Stereo pan/balance knob B. 5.1 surround pan/balance tray C.
230 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Note: One Direct Output Assignment button appears in each track for every channel within that track. For example, a monaural track has a single Direct Output Assignment button, while a 5.
231 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Advanced mixing 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. A submix is an intermediate step between audio tracks and the master track.
232 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Route tracks with sends Each track contains five sends, located in the Effects And Sends panel in the Audio Mixer. Sends are often used to route a track’s signal to a submix track for effects processing.
233 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 3 (Optional) Choose the send property you want to edit from the Selected Parameter menu below the selected send property control.
234 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 2 Choose a 5.1 Mixdown Type from the menu, and click OK. Note: To preserve the integrity of left/right channel assignments, you may want to avoid using downmix options that include the LFE channel.
235 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 2 Select Edit > Edit In Adobe Soundbooth, and choose one of the following: Edit Source file lets Soundbooth record changes to the source file on which the master clip is based, and any sub-clips and clip instances based on that master clip.
236 USING ADOBE PREMIERE PRO CS4 Editing Audio La s t updated 11/6/2011 Edit audio in Adobe Audition 1 In a Project panel or a Timeline panel, select a clip containing audio. 2 Select Edit > Edit In Adobe Audition. 3 Edit and save the clip in Audition.
237 La s t updated 11/6/2011 Chapter 10: Titling The Titler is a versatile tool enabling you to create, not just titles and credits, but animated composites as well. Creating titles About the Titler You can think of the Titler as a collection of related panels.
238 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Create new titles Create a new title from scratch, or use a copy of an existing title as a starting point. Create a new title 1 Do one of the following: • Choose File > New > Title.
239 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Note: Similarly, you can copy text from other applications into Premiere Pro. For more information, see “ Enter text in titles ” on page 242 Open a title in the active project ❖ Double-click the title in the Project panel or in a Timeline panel.
240 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 You can not drag a template from the Resource Central panel until Premiere Pro has downloaded it. Export a title as an independent file You can export titles as independent files that use the .
241 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 You can also import title files from another Premiere Pro project as templates. If you share templates between computers, make sure that each system includes all the fonts, textures, logos, and images used in the template.
242 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Creating popular types of titles Place a bar behind text in a title You can place a bar of any color behind text in a title. Doing so can help separate the text from a video background and make the text more readable.
243 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Type text without boundaries 1 Open the Title Tools panel. • To type horizontal text, click the Type tool . • To type vertical text, click the Vertical Type tool . 2 In the drawing area, click where you want to begin, and then type the text.
244 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Edit and select text ❖ Using the Selection tool, double-click the text at the point you want to edit or begin a selection. The tool changes to the Type tool, and a cursor indicates the insertion point.
245 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Specify text properties When you select any object in a title, its properties are listed in the Title Properties panel. Adjusting values in the panel alters the selected object. Text objects possess unique properties, such as leading and kerning.
246 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 For information about using word wrap in titles, see “ Enter text in titles ” on page 242 More Help topics “ Enter text in title.
247 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Set and adjust a tab stop 1 Select a text box. 2 Choose Title > Tab Stops. 3 Align the “0” line in the Tab Stops ruler with the left edge of the selected text box. 4 Click the tab ruler above the numbers to create a tab.
248 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 • Drag diagonally across the corner points to flip the shape diagonally as you draw.
249 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Corner point direction lines maintain the corner by working independently of one another. When you drag a direction point on a corner point’s direction line, the other direction line, if present, does not move.
250 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Add an object anchor point to a path 1 Select the path. 2 Select Add Anchor Point Tool . • To add an object anchor point without creating or manually adjusting a curve, click where you want to add an object anchor point.
251 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Cap Type Specifies the type of cap placed at the end of the paths. The Butt option caps paths with square ends. The Round option caps paths with semicircular ends. The Square option caps paths with square ends that extend half the line width beyond the end of the line.
252 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Working with text and objects in titles Change the stacking order of objects in titles An object is any shape or text box you create in the Titler. When you create objects that overlap each other, you can control their stacking order in the Titler.
253 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 2 In the Title Actions panel, click the button for the type of alignment you want. Distribute objects in titles A distribution option evenly spaces selected objects between the two most extreme objects.
254 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 • To scale and constrain the aspect ratio, Shift-drag any object’s corner handles. • To scale from the center, Alt-drag (Windows) or Option-drag (Mac OS) any object’s corner handles.
255 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 More Help topics “ Work with styles ” on page 259 Set a fill for text and objects An object’s fill property defines the area within the contours of the object: the space inside a graphic object, or within the outline of each character of a text object.
256 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Eliminate and Ghost work best with objects that have shadows and strokes. Add a sheen Add a sheen to any object’s fill or stroke. A sheen resembles a streak of colored light across the surface of an object.
257 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Alignment X Offset, Alignment Y Offset Specifies the horizontal and vertical offsets (in pixels) for the texture from the calculated application point. This application point is calculated based on the Object X/Y and Rule X/Y settings.
258 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Change the listing order of strokes 1 Select an object containing multiple strokes. 2 In the Title Properties panel, select the stroke you want to move.
259 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Working with styles Work with styles Once you’ve applied a combination of color properties and font characteristics to a text or shape element in your title, you can save this combination, or style , for later use.
260 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Apply a style to an object 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.
261 USING ADOBE PREMIERE PRO CS4 Titling La s t updated 11/6/2011 Creating rolling and crawling titles Create titles that roll or crawl Though static titles, graphics, and logos may suffice for some projects, many others require titles that move across the footage.
262 La s t updated 11/6/2011 Chapter 11: Effects and transitions You can correct, improve, and otherwise modify your assets with any of the dozens of effects provided in Premiere Pro. Working with effects Premiere Pro includes a variety of audio and video effects that you can apply to clips in your video program.
263 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Time Remapping Lets you slow down, speed up, or reverse playback, or freeze a frame, for any part of a clip. Provides fine control for the acceleration or deceleration of these changes.
264 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Using effects from other products In addition to the dozens of effects included with Premiere Pro, many effects are available in the form of plug-ins. You can purchase plug-ins from Adobe or third-party vendors, or acquire from other compatible applications.
265 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 To enable high bit-depth rendering for these effects, select the Maximum Bit Depth video rendering option in the New Sequence dialog box. Create a custom bin in the Effects panel for all the high bit-depth effects.
266 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Effects panel A. Effects bins B. Custom bin C. Audio effect D. Audio transition E. Video effect F. Video transition G. Effects panel menu H. Contains box I. Transitions bins J.
267 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Apply effects to clips 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.
268 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 You can copy and paste individual effects in the Effect Controls panel. You can also copy all effect values (including keyframes for Fixed and Standard effects) from a clip in any sequence.
269 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 • Right-click a clip in a Timeline panel, and select Remove Effects.
270 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Effect Controls panel A. Current time B. Zoom controls C. Play Only The Audio For This Clip D.
271 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 View keyframes for an effect property in the Timeline ❖ Do any of the following: • Click the Show Keyframes button in the track header of a video or audio track, and choose one of the keyframe options from the Show Keyframes menu.
272 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Create markers in the Effect Controls panel In the Effect Controls panel, you can view all of the sequence markers that you created in a Timeline panel.
273 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Blending mode gallery underlying layer source layer Normal Dissolve Darken Multiply Color Burn Linear Burn Darker Colo.
274 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Blending mode descriptions In the following descriptions, these terms are used: • The source color is the color of the layer or paint stroke to which the blending mode is applied.
275 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Color Dodge The result color is a lightening of the source color to reflect the underlying layer color by decreasing the contrast. If the source color is pure black, the result color is the underlying color.
276 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Luminosity Result color has hue and saturation of the underlying color, and luminosity of the source color.
277 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Anchor To Out Point Retains the original distance from the clip Out point to the last effect keyframe. If the last keyframe is 1 sec. from the Out point of the source clip, this option adds the keyframe at 1 sec.
278 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Note: If you have placed the same item in several different custom bins, and you delete that item from one bin, Adobe Premiere Pro deletes each occurrence of the item from the custom and preset bins, and deletes each item from all clips that it affects.
279 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Hide a face with the “cops” effect You can use the Track Matte Key effect to blur faces, license plate numbers, or other identifying features. Television programs use this effect to protect the identities of their subjects.
280 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Motion Adjust position, scale, and rotation Use the Motion effect to position, scale, or rotate a clip within the video frame. To animate clips, you must set keyframes for Motion properties.
281 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 2 Do one of the following: • (Lighting Effects only) Apply the Lighting Effects to the clip and then click the Transform icon next to Lighting Effects in the Effect Controls panel.
282 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Animate motion in the Program Monitor You can create animations, insets, and split screens by manipulating a clip directly in the Program Monitor and setting keyframes for the Motion effect.
283 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Animating a clip’s position in the Program Monitor 1 Select a clip in a Timeline panel. 2 Do one of the following: • Select the Motion effect in the Effect Controls panel.
284 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 6 Move the current-time indicator in either the Timeline or the Effect Controls panel to the time at which you want to define a new value for the property (and thereby a new keyframe).
285 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 6 In the Program Monitor, drag the clip to the location where you want the clip at the end of its movement. A motion path appears in the Program Monitor connecting the start and end points of the clip’s motion.
286 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 3 Select the Effect Controls tab, and, if necessary, click the triangle next to the Motion heading to open the Motion controls.
287 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Changing clip duration, speed, or interlacing View clip properties in a tool tip ❖ Position your cursor over the target clip in a Timeline panel. A tool tip displays the clip name, its start and end points relative to the sequence, and its duration in the sequence.
288 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 The terms progressive and noninterlaced are thus closely related and are often used interchangeably, but progressive s.
289 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 specified for the project in the Fields setting in the New Sequence dialog box, General tab). Then it interpolates the missing lines based on the lines of the dominant field.
290 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Changing clip speed omits or repeats the source frames during playback, thereby making the clip play faster or slower. A change in speed results in a corresponding change in duration, unless the clip is simultaneously trimmed.
291 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Change clip speed and duration with Time Remapping You can change the speed of the video portion of a whole clip. You can use Time Remapping to create slow motion and fast motion effects in which the rate of speed varies.
292 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 You create variable speed changes by applying speed keyframes. You can apply speed keyframes in the Effect Controls panel, or in a clip in a Timeline panel.
293 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Note: It is best to apply time remapping controls to a clip in its own video track, or at least one not followed immediately by other clips. Slowing any portion of a clip makes the duration of that clip longer.
294 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Both the speed and duration of the segment change. Speeding up a segment of a clip makes the segment shorter, and slowing down a segment makes it longer.
295 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 2 Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe . 3 Ctrl-drag (Windows) or Command-drag (Mac OS) a speed keyframe (both halves) to the place where you want the backward motion to end.
296 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Dragging a curve control handle to ease in a speed change Remove the Time Remapping effect You cannot toggle the Time Remapping effect on and off like other effects. Enabling and disabling Time Remapping affects the duration of the clip instance in a Timeline.
297 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 2 Ctrl-click (Windows) or Command-click (Mac OS) on the rubber band to create a speed keyframe . 3 Ctrl+Alt-drag (Windows) or Option+Command-drag (Mac OS) the speed keyframe to the place at which you want the freeze frame to end.
298 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 2 To freeze a frame other than the In or Out point, open the clip in the Source Monitor, and set Marker 0 (zero) to the frame you want to freeze. 3 Choose Clip > Video Options > Frame Hold.
299 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Correcting exposure: Overexposed image with the waveform in the upper limits of the IRE scale (left) and corrected image with t he waveform within 7.
300 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 YCbCr Parade Displays waveforms representing levels of the luminance and color difference channels in the digital video signal. Users comfortable with viewing YUV waveforms might consider using this scope when making color and luminance adjustments.
301 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 8 Do any of the following: • To adjust color balance and saturation using color wheels, adjust the Hue Balance and Angle wheels or numeric controls in the Fast Color Corrector or Three-Way Color Corrector effect.
302 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 • To color balance by neutralizing a black area in the image, select the Black Balance eyedropper and click an area that’s supposed to be black.
303 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 When making adjustments with the color wheel and Saturation control, it’s useful to open a Reference Monitor to view the Vectorscope ganged to the composite video in the Program Monitor.
304 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Adjust color balance and saturation Although the following procedure uses the color wheel adjustments. The same adjustments can be made by entering numeric values or using the slider controls in the Fast Color Corrector and Three-Way Color Corrector effects.
305 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Adjusting the Balance Gain to fine-tune the Balance Magnitude setting. Note: The Three-Way Color Corrector effect lets you make separate adjustments to the three tonal ranges using individual wheels for the shadows, midtones, and highlights.
306 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 5 (Optional) Click the triangle to expand the Secondary Color Correction controls if you want to correct the exposure for a specific color or range of colors. Use the Eyedropper tool or the other Secondary Color Correction controls to specify the colors to correct.
307 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 4 In the Effect Controls panel, click the triangle to expand the Fast Color Corrector or Three-Way Color Corrector controls. 5 (Optional) Do any of the following to set preview options: • To view only the luminance values in a clip, choose Luma from the Output menu.
308 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 White Level eyedropper Maps the sampled tone to the setting of the White Output slider. Click an area in the Program Monitor that you want to be the lightest value in the image.
309 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 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.
310 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Note: As you adjust the color using the color slider and color spectrum, the numeric values change to indicate the new color. The top rectangle to the right of the color slider displays the new color; the bottom rectangle displays the original color.
311 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Choosing Tonal Range from Output menu to display shadow, midtone, and highlight regions in image. Specify a color or range of colors to adjust The Secondary Color Correction property specifies the color range to be corrected by an effect.
312 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 6 (Optional) Choose Mask from the Output menu to view the areas selected for adjustment. White represents areas that allow 100% color correction, and black represents areas protected (masked) from color correction.
313 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Special color and luminance adjustments Match the color between two scenes The Color Match effect (Windows only) can transfer color information from one image or clip to another.
314 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Replace a color If you need more control than the Color Replace effect offers, use the Secondary Color Correction controls in the RGB Corrector, RGB Curves, and Three-Way Color Corrector.
315 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Mix color channels in a clip 1 In the Effects panel, click the triangle to expand the Video Effects bin, and then click the triangle to expand the Adjust bin. 2 Drag the Channel Mixer effect to the clip in a Timeline panel.
316 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Adjust edges, blurs and brightness using Convolution presets You can control the fine details of blurring, embossing, sharpening, and other effects by applying the Convolution Kernel effect or one of the convolution presets based on it.
317 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Lighting Effects: Original image (left), Spotlight applied to image (center), and Omnilight applied to image (right) 1 In the Effects panel, expand the Video Effects bin, expand the Adjust bin, and then drag the Lighting Effects onto a clip in a Timeline panel.
318 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Focus Adjusts the size of the Spotlight’s brightest area. Important: The Light Type determines which Lighting Effects properties are available. Make sure to click the Transform icon to display a light’s handles and Center circle in the Program Monitor.
319 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Transition overview About transitions A transition moves a scene from one shot to the next. Generally, you use a simple cut to move from shot to shot, but in some cases you might want to transition between shots by phasing out one and phasing in another.
320 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 2. Change transition options. Click the transition in a Timeline panel to display its properties in the Effect Controls panel. You can change its duration, alignment, and other properties.
321 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 More Help topics “ About applying transitions ” on page 322 Single- and double-sided transitions Transitions are t.
322 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Applying transitions For a video tutorial that shows how to apply and adjust transitions, see the Adobe website . For a video and a print tutorial on making transitions, see the Adobe website .
323 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 To place a transition at the end of a clip that is not adjacent to another clip, drag and drop the transition. Don’t Ctrl- drag (Windows) or Command-drag (Mac OS). The transition automatically becomes single-sided.
324 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Apply default transitions between selected clips You can apply the default video and audio transitions to any selection of two or more clips. The default transitions are applied to every edit point where two selected clips touch.
325 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Transition in Effect Controls panel A. Play The Transition button B. Transition preview C. Edge selector D. Clip previews E. Start and End sliders F. Clip A (first clip) G.
326 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Dragging the transition in a Timeline panel to reposition it Align a transition using the Effect Controls panel 1 Double-click the transition in a Timeline panel to open the Effect Controls panel.
327 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 3 In the Effect Controls time ruler, position the pointer over the transition, placing it on the thin vertical line that marks the cut. The pointer changes from the Slide Transition icon to the Ripple Edit icon .
328 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Default center (left) and repositioned center (right) Change transition settings 1 In a Timeline panel, click a transition to select it. 2 In the Effect Controls panel, adjust settings: Edge selectors Change the orientation or direction of the transition.
329 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 To preview the transition, drag the current-time indicator through the transition in a Timeline panel.
330 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original image Bevel Alpha Bevel Edges Brightness & Contrast Color Balance Convolution Kernel Gaussian Sharpen Con.
331 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Audio effects About audio effects in Premiere Pro Premiere Pro includes VST (Virtual Studio Technology) audio plug-ins designed to alter or enhance the properties of audio clips.
332 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Chorus effect The Chorus effect simulates several voices or instruments played at once by adding multiple short delays with a small amount of feedback. The result is lush, rich sound.
333 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 In the Effect Controls panel, Custom Setup for this effect shows Input and Output monitors. The first shows the input signal with any detected clicks. The second shows the output signal with the clicks removed.
334 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 value, the DeHummer filters the 60 Hz frequency along with three harmonic frequencies (120 Hz, 240 Hz, and 480 Hz), for a total of four frequencies filtered, hence the value of 4#.
335 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 • Ratio Sets the ratio by which compression is applied, up to 8:1. For example, if the ratio is 5:1, and the input level increases by 5 dB, the output increases by only 1 dB.
336 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Output Specifies the amount of gain to compensate for increases or reductions of frequency bands on the output gain of the EQ.
337 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Use the graphical controls in the Custom Setup view, or adjust values in the Individual Parameters view. The Custom Setup view displays the three bands (low, mid, high) in the Frequency window.
338 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Q Specifies the range of frequencies to be affected. A low setting creates a narrow band; a high setting creates a wide band. The amount by which frequencies are adjusted is set in decibels by the Boost property.
339 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Hi Damp Specifies the amount of dampening of high frequencies (in decibels).
340 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Constant Power transition The Constant Power crossfade creates a smooth, gradual transition, analogous to the dissolve transition between video clips. This crossfade decreases audio for the first clip slowly at first and then quickly toward the end of the transition.
341 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Convolution Kernel effect The Convolution Kernel effect changes the brightness values of each pixel in the clip according to a mathematical operation known as a convolution .
342 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Lighting Effects effect The Lighting Effects effect applies lighting effects on a clip with up to five lights to introduce creative lighting.
343 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Shadow Radius and Highlight Radius The radius (in pixels) of the area around a pixel that the effect uses to determine whether the pixel resides in a shadow or a highlight.
344 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Compound Blur effect The Compound Blur effect blurs pixels in the effect clip based on the luminance values of a control clip, also known as a blur layer or blurring map .
345 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original (left), and with effect applied (right) Gaussian Blur effect (32-bit) The Gaussian Blur effect blurs and softens the image and eliminates noise. You can specify that the blur is horizontal, vertical, or both.
346 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Channel effects Arithmetic effect The Arithmetic effect performs various simple mathematical operations on an image’s red, green, and blue channels.
347 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Calculations effect The Calculations effect combines the channels of one clip with the channels of another clip. Original images (left and center), and with effect applied (right) Input Channel The channel to extract and use as input to the blending operation.
348 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 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.
349 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Stretch Matte To Fit Scales the selected clip to match the size of the current clip. If Stretch Matte to Fit is deselected, the clip designated as the matte is centered in the first clip.
350 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 • Reduce Saturation Moves the pixel’s color toward a gray of similar brightness, making the pixel less colorful. For the same IRE level, reducing saturation alters the image more noticeably than does reducing luminance.
351 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Change Which channels are affected. Change By How to change colors. Setting To Color performs a direct change of affected pixels to the target color.
352 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Color Balance (HLS) effect The Color Balance (HLS) effect alters an image’s levels of hue, luminance, and saturation. Hue Specifies the color scheme of the image. Lightness Specifies the brightness of the image.
353 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Balance Angle Controls the selection of desired hue value. Saturation Adjusts the image’s color saturation. The default value is 100, which doesn’t affect the colors.
354 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original image (left), and with effect applied (right) Amount To Decolor How much color to remove. 100% causes areas of the image dissimilar to the selected color to appear as shades of gray.
355 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Pedestal Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness. Gain Affects the overall contrast ratio of an image by adjusting brightness values by multiplication.
356 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Center Defines the central color in the range that you’re specifying. Select the Eyedropper tool and click anywhere on your screen to specify a color, which is displayed in the color swatch.
357 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Pedestal Adjusts an image by adding a fixed offset to the image’s pixel values. Use this control with the Gain control to increase an image’s overall brightness. Gain Affects the overall contrast ratio of an image by adjusting brightness values by multiplication.
358 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 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. The default is 50%.
359 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 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. The default is 50%.
360 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Auto Contrast Applies both the Auto Black Level and Auto White Level simultaneously. This makes the highlights appear darker and shadows appear lighter. Auto White Level Lowers the white levels in a clip so the lightest levels do not exceed 100 IRE.
361 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 More Help topics Using the Three Way Color Corrector in Premiere Pro “ Apply the Color Correction effects ” on page 300 “ Adjust color and luminance using curves ” on page 305 Tint effect The Tint effect alters an image’s color information.
362 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Distort effects Bend effect (Windows only) The Bend effect distorts a clip by producing the appearance of a wave traveling both vertically and horizontally through the clip.
363 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Fill Color Specifies the background color. Fill Alpha Channel Makes the background transparent so that underlying tracks are visible. In the Effect Controls panel, click Setup to access this option.
364 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Reflection Angle The angle of the line about which the reflection occurs. An angle of 0° reflects the left side onto the right. An angle of 90° reflects the top onto the bottom.
365 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 longer to render. Vertical Displacement warps the image vertically only. Horizontal Displacement warps the image horizontally only. Cross Displacement warps the image both vertically and horizontally.
366 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Wave Width The size of the wave in pixels. 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.
367 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Ripple Center Specifies the X and Y location of the ripple center. You can also change this property directly in the Monitor view. Ripple Amount Specifies the size of the ripples.
368 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Contrast/Sharpness Specifies the contrast of the cell pattern when you use the Bubbles, Crystals, Pillow, Mixed Crystals, or Tubular cell pattern. The control specifies sharpness for any of the Plate or Crystallize options.
369 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Matching color produces subtle result (center); using red with high Width and low Height settings (right) creates striped resul t. Anchor The point of origin of the checkerboard pattern.
370 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original image (left), and with different color samples applied (center and right) Sample Point The center of the sampled area. Sample Radius The radius of the sampled area.
371 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Note: The anti-aliasing of the grid borders may cause the visible thickness to vary. Feather The softness of the grid. Invert Grid Inverts the transparent and opaque areas of the grid.
372 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Width, Width Variation The width of the main lightning bolt and how much the width of different segments can vary. Width changes are randomized. A value of 0 produces no width changes; a value of 1 produces the maximum width changes.
373 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Tolerance How far a pixel’s color values can be from the Fill Point color values and still match.
374 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Write-on effect: Animating strokes Brush Position The position of the brush. Animate this property to create a stroke. Stroke Length (Secs) The duration, in seconds, of each brush mark.
375 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 More Help topics “ Match the color between two scenes ” on page 313 Color Pass effect (Windows only) The Color Pass effect converts a clip to grayscale, with the exception of a single specified color.
376 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 The following Blue Screen Key effect settings are adjusted in the Effect Controls panel: Threshold Sets the levels of blue that determines transparent areas in a clip. Dragging the slider to the left increases the amount of transparency.
377 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 with no anti-aliasing. This option is useful when you want to preserve sharp lines, such as those in titles. Choose Low or High to produce different amounts of smoothing.
378 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Eight-Point, Four-Point, and Sixteen-Point Garbage Matte effects (32-bit) The three Garbage Matte effects aid in cropping out extraneous portions of a shot so that you can apply and adjust a key effect more effectively.
379 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Non Red Key effect The Non Red Key effect creates transparency from green or blue backgrounds. This key is similar to the Blue Screen Key effect, but it also lets you blend two clips.
380 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Remove Matte effect The Remove Matte effect removes color fringes from clips that are premultiplied with a color. It is useful when combining alpha channels with fill textures from separate files.
381 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original (left), and with effect applied (right) Noise effect The Noise effect randomly changes pixel values throughout the image. Amount Of Noise The amount of noise to add.
382 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Noise Options (Animation) How noise is animated. • Cycle Noise Produces a cycle of noise that plays through once in the specified amount of time.
383 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Perspective effects Basic 3D effect The Basic 3D effect manipulates a clip in 3D space. You can rotate an image around horizontal and vertical axes and move it toward or away from you.
384 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Drop Shadow effect The Drop Shadow effect adds a shadow that appears behind the clip.
385 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Render The type of shadow: • Regular Creates a shadow based on the Shadow Color and Opacity values, regardless of semitransparent pixels in the clip. (If Regular is chosen, the Color Influence control is disabled.
386 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Use End Color Lets you add an optional color at the outer edge of the glow. Fade Out Specifies whether the colors fade out or stay solid. Brush Strokes effect The Brush Strokes effect applies a rough painted look to an image.
387 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Relief The apparent height of the embossing, in pixels. The Relief setting actually controls the maximum width of highlighted edges. Contrast Determines the sharpness of the image.
388 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original image (left), with Edge Type set to Roughen (center), and with Rusty Color (right) Edge Type What kind of roughening to use. Edge Color The color to apply to the edge for Rusty Color or Roughen Color, or to the fill for Photocopy Color.
389 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Strobe Light effect The Strobe Light effect performs an arithmetic operation on a clip or makes the clip transparent at periodic or random intervals.
390 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 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.
391 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 • Composite In Back Uses the echoes’ alpha channels to composite them back to front. • Composite In Front Uses the echoes’ alpha channels to composite them front to back.
392 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Tuning controls for Pixel Motion interpolation Vector Details Determines how many motion vectors are used during interpolation. The more vectors used, the longer the rendering time.
393 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Transform effects Camera View effect (Windows only) The Camera View effect distorts a clip by simulating a camera viewing the clip from different angles. By controlling the location of the camera, you distort the shape of the clip.
394 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Roll effect (Windows only) The Roll effect rolls a clip to the left or to the right, or up or down, as if the image were on a cylinder. Vertical Flip effect The Vertical Flip effect flips a clip upside down.
395 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 You can create gradient layers in many ways, such as using the Ramp effect or creating them in Photoshop or Illustrator. Transition Softness The degree to which the transition is gradual for each pixel.
396 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Original image (left), and with effect applied (center and right) Utility effects Cineon Converter effect The Cineon Converter effect provides a high degree of control over color conversions of Cineon frames.
397 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Video effects Timecode effect The Timecode effect overlays a timecode display on your video to make pinpointing scenes and collaborating with team members and clients easier.
398 USING ADOBE PREMIERE PRO CS4 Effects and transitions La s t updated 11/6/2011 Dip To White transition For information on using Dip To White, watch the online training video on the Total Training website. Dither Dissolve transition Dither Dissolve fades clip A to clip B using a dithering algorithm.
399 La s t updated 11/6/2011 Chapter 12: Animation Animating effects About animating effects Although commonly used to mean “move a figure across the screen,” we use the word animate here to mean “change an attribute through time.
400 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 • Like a Timeline panel, the Effect Controls panel also displays keyframes graphically. Once keyframing is activated for an effect property, you can display the Value and Velocity graphs.
401 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Effect Controls A. Value graph B. Velocity graph View keyframes and properties in a Timeline panel If you’ve added keyframes to animate an effect, you can view them and their properties in a Timeline panel.
402 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Keyframe tool tip A. Timecode B. Property value 1 (Optional) If the track is collapsed, click the triangle to the left of the track name to expand it.
403 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Choosing from the effects menu 7 Place the pointer directly over a keyframe to view its property in a tool tip. The tool tip displays the keyframe location, as well as the property and options you set for it in the Effect Controls panel.
404 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Clicking the Toggle Animation button activates keyframing for an effect property at the current time.
405 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Keyframe navigator A. Keyframe navigator in Effect Controls panel B. Current-time indicator C. Keyframe navigator in Timeline panel Select keyframes If you want to modify or copy a keyframe, first select it.
406 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 More Help topics “ View keyframes and graphs ” on page 400 Edit keyframe graphs In the Effect Controls panel, you can make adjustments to keyframes for any effect property by editing their graphs.
407 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Note: In a Value or Velocity graph, you cannot move a keyframe left or right to change its current time. Instead, drag a keyframe marker above the graph using the Selection or Pen tool.
408 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 2 In the Automation Keyframe Optimization area, select one or both of the following options, and then click OK: Linear Keyframe Thinning Creates keyframes only at points that do not have a linear relationship to the start and end keyframes.
409 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Copy and paste keyframes in the Effect Controls panel When you paste keyframes into another clip, they appear in the corresponding property in the target clip’s effect in the Effect Controls panel.
410 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Controlling effect changes using keyframe interpolation About interpolation Interpolation is the process of filling in the unknown data between two known values. In digital video and film, this usually means generating new values between two keyframes.
411 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Changing keyframe interpolation for the Position property of the Motion effect A Linear spatial keyframe B. Auto Bezier interpolation C. Continuous Bezier interpolation 1 Do one of the following: • In the Effect Controls panel, right-click a keyframe marker.
412 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Create Bezier keyframes 1 In a Timeline panel, select the clip containing the keyframes you want to adjust, and then do one of the following: • (Timeline panel) Choose the property you want to adjust from the effect menu next to the clip or track name.
413 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Velocity graph A. Speed controls B. Incoming direction handles C. Outgoing direction handles 1 In the Effect Controls panel, click the triangle to expand the effect property with keyframes that you want to adjust.
414 USING ADOBE PREMIERE PRO CS4 Animation La s t updated 11/6/2011 Moving still images across the screen Using the Motion effect controls in Premiere Pro, you can move still images across the screen, resize them, or both. 1 Import the still image. For more information, see “ Importing still images ” on page 90.
415 La s t updated 11/6/2011 Chapter 13: Compositing Compositing is the process of creating a compound image by superimposing one or more clips on another.
416 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 • It’s often most efficient to import a source file already containing an alpha channel defining the areas that you want to be transparent.
417 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Specify clip opacity in the Effect Controls panel You can adjust opacity for a clip in the Effect Controls panel using the same method you would use to set any other effect property.
418 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Transparency (masks, alpha channels) About transparency Before you can create a composite from multiple images, parts of one or more of the images must be transparent.
419 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 With straight (or unmatted ) channels, transparency information is stored only in the alpha channel, not in any of the visible color channels.
420 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Dragging a key from the Effects panel to a clip in a Timeline panel 3 In the Video Effects section of the Effect Controls panel, click the triangle next to the key effect name to expand its settings.
421 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Make a color transparent with Color Key The Color Key effect keys out all image pixels that are similar to a specified key color. This effect modifies only the alpha channel of a layer.
422 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 A still image used as a matte (left) defines transparent areas in the superimposed clip (center), revealing background clip (ri ght). 1 Add the clip (used as a background) to a video track in a Timeline panel.
423 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 The following Difference Matte settings are adjusted in the Effect Controls panel: View Specifies whether the Program Monitor shows the Final Output, Source Only, or Matte Only. Difference Layer Specifies the track to be used as the matte.
424 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Because you can use a video clip as a matte in the Track Matte Key, the matte can change over time. You can create mattes in various ways: • Use the Title panel to create text or shapes (grayscale only), save the title, and then import the file as your matte.
425 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 More Help topics “ About keyframes ” on page 399 “ Edit keyframe graphs ” on page 406 Mask out objects with garbage mattes Sometimes the subject of a scene is properly keyed except for undesired objects.
426 USING ADOBE PREMIERE PRO CS4 Compositing La s t updated 11/6/2011 Create a solid color matte You can create a full-frame matte of a solid color to use as a clip. Solid background mattes can be used for titles. 1 Select the Project panel. 2 Choose File > New > Color Matte.
427 La s t updated 11/6/2011 Chapter 14: Exporting From making proofs for feedback from your collaborators to generating movies for the web, the Apple iPod, DVD, Blu-ray disc, or videotape, Premiere Pro provides robust export options that are simple to use.
428 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Export formats for various devices and web sites Finally, using the Adobe Media Encoder, you can export video in formats suitable fo.
429 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Codecs Adobe Media Encoder handles most of the encoding tasks for Adobe Premiere Pro, and Adobe Media Encoder uses a wide variety of codecs for these encoding tasks. The resources linked below explain the strengths and weaknesses of the codecs in Adobe Media Encoder.
430 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 • Limit effects and rapid movement. Limit movement if you are concerned about file size. Any movement, particularly with many colors, increases file size. Shaky camera work and zooms increase the size greatly.
431 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 About MPEG MPEG is the name of a family of digital audio and video standards specified by the ISO/IEC Moving Picture Experts Group. MPEG standards include several keyframe-based compression methods.
432 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 CD-ROM playback The data rate for video played from a CD-ROM depends on the speed of the CD-ROM drive.
433 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 You can reap benefits from shooting and editing in high-definition formats even if you output to standard definition. For example, the quality of high-definition clips remains high when you zoom into them or pan across them in the context of standard-definition projects.
434 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 VC-1 A codec that supports encoding in high-definition for Windows Media Video. For more information about VC- 1, see the article VC-1 on the Wikipedia website. Windows Media Video 9 A codec that supports encoding in high-definition for Windows Media Video.
435 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Export Settings viewing area The Export Settings dialog box includes a large viewing area where you can toggle between Source and Output tabs. The Source tab includes an image area, and an interactive cropping feature.
436 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Presets for export settings When exporting with Adobe Media Encoder, choosing a format automatically makes available a list of associated presets designed for particular delivery scenarios.
437 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 2 Alt-click (Windows) or Option-click (Mac OS) the Save Preset button . 3 Choose the location to save the preset, name it, and then click Save.
438 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 • MPEG-1 (MPA, MPG; both are Windows only): is for medium-bandwidth video, commonly used for Video CD (VCD). • MPEG-2 (MPA, M2V, MPG): supports encoding of video and associated audio at bit rates up to 10.
439 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Note: The export options available largely depend on which version of Adobe Media Encoder is installed. For example, if Adobe Media Encoder is installed with a stand-alone version of Adobe InDesign, it can only export H.
440 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Audiences export settings In the Export Settings dialog box, selecting Windows Media (Windows only) as the format exposes the Audiences tab. The options on the Audiences tab allow you to output variations of a movie suited to different network speeds.
441 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Audio export settings In the Export Settings dialog box, the options available in the Audio tab depend on the format you’ve specified. One or more of these options appear on the Audio tab: Audio Codec or Codec Specifies the codec used to encode the audio data.
442 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Setting the value to 0 disables Audio Interleave and speeds rendering time. Consider disabling Audio Interleave for projects containing assets with large pixel dimensions. Bitrate [kbps] Specifies the output bit rate of the audio.
443 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Video export settings In the Export Settings dialog box, the options available on the Video tab depend on the format you’ve specified. Video settings include one or more of the following options.
444 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Render At Maximum Depth Specifies whether Adobe Media Encoder renders sequences containing high bit-depth assets at their full bit depth.
445 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 M Frames Specifies the number of B frames (Bi-directional frames) between consecutive I frames (Intra-frames) and P frames (Predicted frames). N Frames Specifies the number of frames between I frames (Intra-frames).
446 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 For more information on the options available, see the official website of the MPEG organization at www.
447 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Exporting editable movie or audio files About exporting movie and audio files An edited sequence consists of clips that refer to corresponding media files on a hard disk.
448 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 More Help topics “ About the Export Settings dialog box ” on page 434 “ Export Settings Format options ” on page 437 Export .
449 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 The sequence or clip is added to the CONTENTS folder of the disk or P2 card, with the video MXF file added to the VIDEO folder, the audio MXF file added to the AUDIO folder, the icon file added to the ICON folder, and the metadata XML file added to the CLIP folder.
450 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Note: Adobe Premiere Pro applies only the effects listed, on export to OMF. Also, since OMF values are clip-based, Adobe Premiere Pro does not export most track-based values to OMF.
451 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 5 From the Files menu, choose one of the following: Encapsulate With this setting, Premiere Pro exports an OMF file containing the project metadata and all the audio for the selected sequence.
452 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Exporting HD and HDV sequences You can export MPEG-2 or H.264 Blu-ray files, high-definition formats for authoring to Blu-ray discs; or other high- definition varieties of H.264, AVI, or Windows Media files.
453 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Note: For best results, test completed Animated GIF files in a web browser before distributing. 1 Choose File > Export > Media. 2 In the Export Settings dialog box, select GIF or Animated GIF from the Format menu.
454 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Note: When you create a Clip Notes review movie, you can specify FTP settings in the Others tab of the export settings dialog box to automatically place the PDF file on an FTP server for convenient exchange of files and comments.
455 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 • To move to another comment, choose it in the Go To menu, or click the Go To Previous Comment button or Go To Next Comment button . • To add a comment, click the Add Comment button and enter your comment.
456 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Choosing file formats for various discs When exporting a file from the Export Settings dialog box for use in DVD or Blu-ray disc creation, select the format appropriate for the target medium.
457 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Encode your files so that they do not exceed the storage capacity of the target CD: 650 MB or 700 MB. However, to ensure that your files play back successfully, also encode them with the hardware and software available to your audience in mind.
458 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Exporting projects for other applications or archiving About exporting projects for other applications or archiving You can export a data file that describes the project and enables you to recreate it either with related media or by using another editing system.
459 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 • AAF files exported from Premiere Pro and imported into Avid Media Composer do not automatically relink to the source footage. To relink the footage, use the Batch Import option in Avid Media Composer.
460 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Grouped clips Upon import, all grouped clips are ungrouped and treated separately. Transitions and effects Transitions and effects exported from Premiere Pro to the AAF format are identified uniquely in Avid Media Composer.
461 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Note: Project Manager does not copy and collect After Effects compositions that are dynamically linked to an Adobe Premiere Pro project. Project Manager does save the Dynamic Link clip in the trimmed project as an offline clip, however.
462 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Disk Space Displays a comparison between the size of the current project’s files and the estimated size of the trimmed or copied files. Click Calculate to update the estimate. 5 Click OK.
463 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 To give your recording deck additional time before your video sequence starts and after it ends, add black before and after the sequence in the Timeline window.
464 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 • To have Premiere Pro roll the tape before the specified start time so that the deck can attain a constant speed, select Preroll and type the number of frames you want the tape to play before recording begins.
465 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Choose carefully the acquisition format that best suits your needs, both for production and post-production. Post- production tools sometimes require you to acquire your footage in specific formats, or to convert your footage to them.
466 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 For information about exporting files, see “ Workflow for exporting files ” on page 428. Format Specify the format of media file supported by your web host. Formats include H.264, FLV, QuickTime, and Windows Media (Windows only) formats.
467 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Work with video in the native format of your project until your final output If you convert a precompressed digital video format into another format such as FLV, the previous encoder can introduce video noise.
468 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Stream for best performance To eliminate download time, provide deep interactivity and navigation capabilities, or monitor quality o.
469 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 More Help topics www.adobe.com/go/lrvid4116_xp www.adobe.com/go/lrvid4093_xp www.adobe.com/go/lrvid4097_xp Export to QuickTime ❖ In the Export Settings dialog box, specify QuickTime for Format, and then choose an option from the Preset menu.
470 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 5 Select the Video tab. 6 For Codec, select On2 VP6. 7 Check Encode Alpha Channel. 8 Adjust the other settings as desired.
471 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 Preview a movie on a virtual mobile device using Premiere Pro Using Adobe Device Central, you can preview movies formatted for mobile devices in emulations of those devices. This option is available for most of the H.
472 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 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.
473 USING ADOBE PREMIERE PRO CS4 Exporting La s t updated 11/6/2011 4 In the dialog box, type information into any of the metadata fields as needed, and click OK. Append XMP metadata to a file before exporting 1 In the Export Settings dialog box, click the Advanced Mode button , if the options panels are not already exposed.
474 La s t updated 11/6/2011 Chapter 15: Keyboard shortcuts Many commands and buttons have keyboard shortcut equivalents, so you can complete tasks with minimal use of the mouse. You can also create or edit keyboard shortcuts. The default shortcut set is called Premiere Pro Factory Defaults.
475 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 6 Type the shortcut you want to use for the item. If the shortcut is already in use, you are told that, if you keep this change, the command that previously used this shortcut will no longer have one.
476 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 2 Choose the set of shortcuts you want to use from the Set menu. Print keyboard shortcuts You can paste the lists of keyboard shortcuts from the Keyboard Customization dialog box into a text document, from which you can print them.
477 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 Keys for the Capture panel To see a complete list of keyboard shortcuts, select Edit >Keyboard Customization. Also, you can find most keyboard shortcuts in menu commands and tool tips.
478 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 Keys for the Project panel To see a complete list of keyboard shortcuts, select Edit >Keyboard Customization. Also, you can find most keyboard shortcuts in menu commands and tool tips.
479 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 Result Windows shortcut Mac OS shortcut Set work area bar to sequence Double-click the work area bar Double-click the work .
480 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 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 forw.
481 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 Keys for the Titler To see a complete list of keyboard shortcuts, select Edit >Keyboard Customization. Also, you can find most keyboard shortcuts in menu commands and tool tips.
482 USING ADOBE PREMIERE PRO CS4 Keyboard shortcuts La s t updated 11/6/2011 Keys for the Trim panel To see a complete list of keyboard shortcuts, select Edit >Keyboard Customization. Also, you can find most keyboard shortcuts in menu commands and tool tips.
483 La s t updated 11/6/2011 Index A activation of software 1 Adobe After Effects conversion of layers in Adobe Premiere Pro 31 optimizing After Effects content for mobile devices 471 Adobe Dynamic Li.
484 USING ADOBE PREMIERE PRO CS4 Index La s t updated 11/6/2011 frame rate for exporting 443 frames in interlaced video 287 G Get Properties For command 432 H H.
485 USING ADOBE PREMIERE PRO CS4 Index La s t updated 11/6/2011 multiple monitors 11 resetting 11 resizing panel groups 9 saving custom layouts 10 X XMP (Extensible Metadata Platform) about 110 Softwa.
Un point important après l'achat de l'appareil (ou même avant l'achat) est de lire le manuel d'utilisation. Nous devons le faire pour quelques raisons simples:
Si vous n'avez pas encore acheté Adobe Premiere Pro CS4 c'est un bon moment pour vous familiariser avec les données de base sur le produit. Consulter d'abord les pages initiales du manuel d'utilisation, que vous trouverez ci-dessus. Vous devriez y trouver les données techniques les plus importants du Adobe Premiere Pro CS4 - de cette manière, vous pouvez vérifier si l'équipement répond à vos besoins. Explorant les pages suivantes du manuel d'utilisation Adobe Premiere Pro CS4, vous apprendrez toutes les caractéristiques du produit et des informations sur son fonctionnement. Les informations sur le Adobe Premiere Pro CS4 va certainement vous aider à prendre une décision concernant l'achat.
Dans une situation où vous avez déjà le Adobe Premiere Pro CS4, mais vous avez pas encore lu le manuel d'utilisation, vous devez le faire pour les raisons décrites ci-dessus,. Vous saurez alors si vous avez correctement utilisé les fonctions disponibles, et si vous avez commis des erreurs qui peuvent réduire la durée de vie du Adobe Premiere Pro CS4.
Cependant, l'un des rôles les plus importants pour l'utilisateur joués par les manuels d'utilisateur est d'aider à résoudre les problèmes concernant le Adobe Premiere Pro CS4. Presque toujours, vous y trouverez Troubleshooting, soit les pannes et les défaillances les plus fréquentes de l'apparei Adobe Premiere Pro CS4 ainsi que les instructions sur la façon de les résoudre. Même si vous ne parvenez pas à résoudre le problème, le manuel d‘utilisation va vous montrer le chemin d'une nouvelle procédure – le contact avec le centre de service à la clientèle ou le service le plus proche.
