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One of the great strengths of the Adobe Creative Suite Production Premium 6 is the seamless integration between the various applications. Even so, the best-practice approach to sharing media and creative work between applications remains mysterious to many users. In this course filmmaker and author Maxim Jago breaks everything down into simple, clear steps, offering guidance on project and file management and examples that demonstrate the best use of the technology. If you use Adobe Creative Suite CS6 for video post-production, this course can make your work faster, easier, and more efficient.
As well as pre organizing your clips and assigning metadata to your media in preload. You can build what Adobe calls a rough cart or several rough carts, and send that into Premiere Pro. Now personally, I would call the sequences that are created, assembly edits, rather than rough cuts. For me, a rough cut has a little bit more finessing in it than the piecing together of whole clips and sub clips that you get in Prelude. Nonetheless, it's an extremely useful feature, it's particularly good if you're a director, and you want to communicate with your editor.
The gist of the structure of the edit that you've got in mind, but you don't really know how non-linear editing systems work. If we flip that around, imagine that you're an editor and you somehow need to help your director communicate with you their intentions. Spend just a few minutes teaching them Adobe Prelude and they can use that to build sequences for you. Doing this is very, very simple. On the bottom right here in the Project panel, I've got a create new rough cut button. And this actually wants to save a file, so let's call this Sharing Rough Cuts just so we've got it there. So that's going to be a file on your hard drive along with any other, all the media that you've got, it's kind of like a mini project.
If I double-click to open this up, I've got an empty timeline. And into this timeline, I can Drag and Drop things. So there's a shot, there's another one. Notice that I've got only very, very basic positioning controls here, and that's a good thing because this isn't for video editing really. But what if I wanted to use just a part of a shot? Well if I open up one of these, maybe let's get this scenic shot. Here, you see I've got a sub-clip marker type. So I can click the button, I can press the number one, and let's just call this Part One, doesn't really matter. And I'll move my playhead over a bit, mark an outpoint. I'm pressing the O key on my keyboard here, and I've identified a region of this clip that I want to use.
I've just made two so it's a nice and easy. And pressing the number one and then I'm pressing O to mark it out. I've got the marker selected here before I use the keyboard shortcuts so prelude knows which marker I want to modify. Now, if I save with Ctrl+S or Cmd+S, you can see those sub clips appear. If I double-click, go back to my rough cut, I can now drag those in if I want to making a real mess of this. So it's going to be confusing enough for the editor. But hopefully you can see now. There we are.
I've got a series of clips, one after another. Sending that rough cut over to Premiere Pro is exactly the same as sending over some clips. I'm going to right-click on it, and I'm going to choose send to Premiere Pro. I'm getting the invitation to save it first, well I probably ought to do that. And now if I toggle over to Premiere Pro, there we are. You can see I've got those two shots that we used in the rough cut and I've got a regular Premiere Pro sequence. I can open this up and there we are. I've got my shots. One after another. So automatically, the clips that were used in the rough cut have come across. I just open this up a little bit.
That's in addition to the shots that I already had in the project. You can see they're just being duplicated. And also, notice that although I added subclips to the sequence, what's actually arrived in Premiere Pro is regular clips. And this is quite an important distinction because Premiere Pro does have such a thing as a subclip. It's a special kind of item in the bin that just links to part of your original media. If I toggle back to Prelude now, you can see there are the two subclips I made. I'm going to hold down Ctrl or Cmd here. And I am going to right-click to send Premiere Pro. Now if I toggle back to Premiere Pro, you can see, if I just expand, where are we? Here we are.
C9C, and I've got my Part 1 and my Scenic 101. These are the subjects that I've just made inside of Prelude, they're the same items that are inside the rough cut. But again, when I brought it over as a rough cut, it came as a whole clip. If I send it separately, it arrives as a subclip. You can always convert subclips into master clips by right-clicking on them. And if I just scroll down a little bit, I've got Edit Subclip. And here you can change the start and end time code for the subclips.
You can modify the beginning and end of it within the total range of the master clip, of course. And I've got a tick box to convert this to a master clip. Take that box, click OK. The icon changes, and now I have a master clip. If I just zoom out a little bit, you can see I've got the full duration. Again the important part of this, if I toggle back to Prelude, it's that I have a very, very simple interface. I suppose as a director, to just communicate the structure, the overall, if you like, the skeleton of the edit.
So, I can then hand that to the editor, and just watch through it with them and discuss what I have in mind for the film. It might be that the editor totally discards everything and produces something even more wonderful. And we'll go ahead with that. But just being able to piece things together without really understanding video editing is a fantastic feature in Adobe Prelude. So, that's sharing rough cuts with Premiere Pro that you've built inside Adobe Prelude.
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